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PORTABLE LAMPS 


BY THE SAME AUTHOR 


The Book of the Sky 

Beautifully illustrated from photo¬ 
graphs taken by the author. 

11 Beauty and fascination of style 
make it unusually engaging reading. ”— 
Philadelphia Public Ledger. 

“Most picturesque descriptions . . . 
most interesting reading . . . beautifully 
illustrated. ’ 1 —Science and Invention. 


E. P. DUTTON & COMPANY 
































3 



i 


i 



















































Portable lamps—the liome-fires of the electrical age 
—are vitalized ornaments whose existence is fur¬ 
ther justified by usefulness. Through the power 
and charm of light they do much toward making 
a house a home. 
















PORTABLE LAMPS 

THEIR DESIGN AND USE 


BY 

M. LUCKIESH 

K 

DIRECTOR, LIGHTING RESEARCH LABORATORY, NATIONAL LAMP WORKS 
OF GENERAL ELECTRIC CO. 


Author of “The Book of the Sky,” “Lighting the Home,” 
“Artificial Light,” “Color and Its Applications,” “Light 
and Shade and Their Applications,” etc. 



NEW YORK 

E. P. DUTTON & COMPANY 

681 FIFTH AVENUE 





Copyright, 1924 

BY E. P. DUTTON & COMPANY 


All Bights Reserved 

TH 7%o 

,lb 





Printed in the United States of America 


MAR -3 *24 

©C1A778258 

"VvO t 






PREFACE 

The portable lamp is rapidly growing in 
popularity as a means of lighting the home and 
its increasing use is supported by many sound 
arguments. Nearly every lighting problem in 
the home can be successfully solved by means 
of properly designed portables. The lighting 
effects obtainable can be varied considerably 
by altering the form of the shade and the equip¬ 
ment concealed within it. Furthermore, port¬ 
able lamps can satisfy any artistic require¬ 
ments as well as perform the various purely 
utilitarian functions. By means of portable 
lamps artificial light is permitted to assume its 
important place in a decorative scheme. Many 
families live in rented apartments and portable 
lamps permit them to enjoy their own taste in 
lighting. The householder can weave individu¬ 
ality into lighting by spending time and money 




V 


PREFACE 


in developing portable lamps which will follow 
him to his next residence. The mobility of 
portable lamps also makes this kind of lighting 
the most flexible for the arrangement of fur¬ 
niture is not fixed by so-called lighting fixtures. 
Finally, portable lamps make it possible to vary 
the lighting to suit the mood or the occasion. 
In fact they have much to commend them in 
helping to make a house a home and it is the 
hope that this little volume will aid the house¬ 
holder and others in designing, in purchasing, 
and in using them. 


November 23, 1923 . 


M. Luckiesh. 


CONTENTS 

CHAPTER PAGE 

I Portable Lamps. 1 

II Principles op Design. 30 

III Pedestals.65 

IY Lamp-Shades.78 

Y Uses in Various Rooms.98 

VI Novelties . 125 

VII Light-Sources .135 









ILLUSTRATIONS 


Portable Lamps—the Home-Fires of the Electrical 
Age—Are Vitalized Ornaments Whose Existence Is 
Further Justified by Usefulness . . . Frontispiece 

FIGURB PAGE 

1. A Variety of Portables for Many Purposes . 10-11 

2. Adequate Wiring of Basement.19 

3. Adequate Wiring Properly Providing for Many 

Portables.21 

4. Adequate Wiring of Second Floor .... 22 

5. Showing the Principal Related Dimensions Which 

Determine the Usefulness of a Portable Lamp 40 

6. Portable Giving a Wide Spread of Light . . 43 

7. The Closed-Top Cylindrical or Drum Shade 

Showing Component of Direct Light ... 45 

8. Showing the Effect of Two Light-Sources . . 47 

9. Illustrating the Upward Component of Light 

from Open-Top Shades; also the Direct Down¬ 
ward Component.54 

10. A Portable Designed to Provide Indirect Light¬ 

ing as Well as Direct Light.55 

11. A Direct-Indirect Portable.57 

12. A Simple Indirect Lighting Portable with an 

Opal Glass Shade Which Diffuses Some Light 
to the Exterior Decorative Shade .... 59 








ILLUSTRATIONS 


FIGURE PAGE 

13. The Light-Source Is Shielded by an Opaque 

Reflector, R. The Light Is Reflected from the 
Inner Surface of Shade S. . ..63 

14. Wood Pedestal with Burnished Gold Highlights 67 

15. Polychrome Pedestal.68 

16. Wrought Iron Table Lamp with Soft Old Flor¬ 

entine Finish. Blue and Gold Twenty-Four 
Inch Silk Shade.71 

17. A Vase for Pedestal.72 

18. Wrought Iron Pedestal and Mica Shade ... 81 

19. Empire Shade.83 

20. Shallow Empire Shade.83 

21. Extremely Shallow Empire Shade .... 83 

22. Pyramidal Shade.84 

23. Panelled Shades (Cross-Sections) .... 85 

24. Glass Shade.96 

25. Decorative Portables for Buffet.103 

26. At the Reading Table.105 

27. A Floor Lamp Providing Both Downward and 

Upward Components of Light.106 

28. An Excellent Portable for the Reader . . . 108 

29. A Useful and Ornamental Bridge Lamp . . . 109 

30. An Excellent Portable for the Piano .... Ill 

31. For the Dressing Table.115 

32. Showing the Short Portable Which Is Best for 

the Dressing-Table Where the User Is Seated 117 

33. Showing Tall Slender Portable of Proper Height 


for the Dresser at Which the User Stands . 119 


X 














PORTABLE LAMPS 















f 




A 









PORTABLE LAMPS 


CHAPTER I 

PORTABLE LAMPS 

No phase of modem lighting in the home has 
greater possibilities than the portable lamp. 
When one is dissatisfied with the lighting in any 
particular place wise consideration given to the 
portable lamp will usually solve the problem. 
But it is not “wise” consideration if a portable 
lamp is assumed to be simply a shade on a 
pedestal. A satisfactory portable in general 
does not consist merely of a beautiful shade on 
a beautiful pedestal, notwithstanding the gen¬ 
eral belief. 

Good results in lighting are due merely to 
proper attention to simple details. A satisfac¬ 
tory portable is the result of such details as the 
height of the pedestal, diameter, depth, form 
1 


PORTABLE LAMPS 

and density of the shade, the location of the 
light-sources, and of various other factors. 
Finally the proportions, materials, finish, or, in 
other words, the artistic appearance is import¬ 
ant. Thus we might say that in general a satis¬ 
factory portable is one in which a scientific 
design is clothed by an artistic one. Too many 
portables lack the scientific framework. 

The portable lamp in its highest development 
is a product of the electrical age, for the electric 
lamp has opened possibilities which were denied 
the open flame. Of course, we have had portable 
lamps throughout the ages, for not until the 
advent of gas-lighting slightly more than a cen¬ 
tury ago, did our lighting devices to a large 
degree become ‘ i fixed.’’ Thus there arose that 
unsatisfactory term “lighting fixture .’’ 

So-called fixtures were used to some extent 
in the more elaborate interiors in remote cen¬ 
turies but they were merely suspensions for oil- 
lamps or candles. These suspensions varied in 
artistic design with the fortunes of nations until 
in the glittering age of Louis XIV, concentrated 
artistic skill wrought fixtures of marvellous 
2 


PORTABLE LAMPS 

splendor. Throughout the Rennaissance won¬ 
derful chandeliers, sconces and lanterns were 
born. Later creative Englishmen such as 
Sheraton, Chippendale and the Adam brothers 
bequeathed to posterity fine examples of handi¬ 
craft designed for candles and the more modem 
oil-lamps. Then the United States was bom 
and the Colonial period borrowed from those 
gems of craftsmanship which existed in the 
old world. All these and more are still inspira¬ 
tions for the artist of today who unfortunately 
is handicapped by living in the midst of haste, 
when it is easier or perhaps more necessary to 
borrow from the past than to develop styles 
characteristic of this electrical age. 

Perhaps the foregoing statement is somewhat 
unjust for lighting fixtures are being adapted to 
some extent to the present-day light-sources. 
But there are many fixtures designed at present 
which are copies of the gems of the past with a 
mere substitution of electric lamps for the 
candles for which the originals were designed. 
The result is often a beautiful fixture when un¬ 
lighted but when lighted the glare of brilliant 
3 


PORTABLE LAMPS 


modern light-sources warns us that art must 
adapt itself to the light-sources of the period 
or the result may no longer be art. 

Today light-sources are so brilliant that they 
must be shaded or their light must be diffused. 
Furthermore electricity is conducted in flexible 
wires and gas in flexible tubes so that we are not 
confined to the use of so-called fixtures. It is 
true that our “portable” lamps of today, with 
the exception of our kerosene lamps, are not as 
portable as the candle of bygone years. Inci¬ 
dentally we must look upon the candle as a won¬ 
derful light-source and pay our respects to that 
unknown individual who devised it before the 
Christian era. It is a complete lighting plant. 
Its fuel is solid and easily portable, hence it is 
carried beyond the outposts of civilization. 
When we light the wick the flame melts the hard 
fuel and this liquid is in turn vaporized. The 
result is that the flame is a gas jet, portable in 
the most extreme sense. There is no easier way 
of turning back the years than by means of the 
mellow yellow light of the gently flickering 
candle. How restful in this age of haste are 
4 


PORTABLE LAMPS 

those charming moments of leisurely antiquity 
which the candle-flame brings to us. But if we 
are wise we can at least enjoy the warmth of 
tint of candle-light by using “flame-tinted” elec¬ 
tric lamps available for the purpose or to a 
lesser extent by carefully choosing colored 
fabrics for lamp shades. 

In the earlier years of modern lighting, light 
was expensive and naturally it was used largely, 
and in most cases only, as a utility. Those 
years did not witness a wide use of decorative 
portables. But artificial light now costs only 
one-fiftieth as much as it did a century ago and 
the last score of years has witnessed a reduction 
in the cost of electric light of eighty per cent. 
Therefore if we could afford electric light as a 
pure utility even twenty years ago we can now 
afford to enjoy some of its greater possibilities 
as an artistic medium. The latter includes a 
generous use of portable lamps for the variety 
of lighting effects possible. 

It is easily shown that artificial light pos¬ 
sesses great potentiality in making a house a 
home but this broader phase has been dealt with 
5 


PORTABLE LAMPS 

elsewhere.* It is beyond the scope of this little 
volume to discuss in detail, light as an artistic 
or expressive medium. This phase will be 
touched upon only incidentally here and there. 
It will be assumed that the reader recognizes 
in modern artificial light a wonderful medium 
full of latent possibilities. If he does not, much 
of the present little volume will pass by un¬ 
heeded. If he does not share the author’s en¬ 
thusiasm perhaps he will read the volumes re¬ 
ferred to. 

During the early decades of modern artificial 
lighting, a few meager utilitarian fixtures and a 
purely utilitarian portable or two represented 
the lighting equipment of most of our better 
homes. However as the cost of light decreased 
we began to use more of it and now that it costs 
only about as much as our cream for breakfast 
some of us are beginning to tap its potentiality. 
But even now the possibilities of artificial light 
are barely recognized and little utilized in most 
of our homes. Perhaps the awakening of the 

♦“Lighting the Home,” 1920, M. Luckiesh. “Artificial 
Light—Its Influence Upon Civilization,” 1920, M. Luckiesh. 

6 


PORTABLE LAMPS 

householder is represented best by the growing 
use of portable lamps. To one who has devoted 
many years to the study and development of 
artificial lighting, the tendency toward the use 
of portables is heralded as the dawn of enlight¬ 
enment, for the portable lamp has great possi¬ 
bilities throughout the home with the exception 
of such work-places as the kitchen and basement. 
But there are many misuses of portables; there 
are many poorly designed; there are many fea¬ 
tures not yet taken advantage of in their con¬ 
struction; and the householder in general, is 
unacquainted with many details of lighting 
which aid greatly in making a house a home. 
Hence, this little volume which aims to show 
the principles of construction and the applica¬ 
tions of the portable lamp throughout the home. 

Those who become acquainted with the vari¬ 
ous possibilities of portable lamps will find their 
application fully as fascinating as furnishing 
and decorating a house and even more so, for 
one in whom the creative spirit is restless for 
opportunities of expression will find endless 
pleasure in planning portables and uses for 
7 


PORTABLE LAMPS 


them. Herein lies a simple means of introduc¬ 
ing variety into the expression of interiors not 
only by means of the individual note of light and 
color which each lamp provides but by the com¬ 
bination of several of these and by the lighting 
effect upon the interior itself. Furthermore, 
many lighting problems of a more utilitarian 
nature are readily solved by means of the port¬ 
able lamp. 

The discussion of light as a decorative me¬ 
dium has been presented extensively elsewhere, 
so it will suffice to remind the reader that light 
should be viewed as a medium which models 
form, colors objects, and by its distribution 
upon the floor, walls, and ceiling, it accentuates 
and even creates the mood or expression of a 
room. Of course, attention is given to the ap¬ 
pearance of the portable itself, not only as an 
artistic object, but as a note of light and of 
color, but the lighting effect upon the surround¬ 
ings is usually more important excepting in 
those cases where the portable is purely an orna¬ 
mental note. 

Variety is much sought after throughout the 
8 


PORTABLE LAMPS 

home from diet to furnishings and even to recre¬ 
ation. Artificial light is wonderful in this re¬ 
spect, for by the pressure of a switch the light¬ 
ing effect and consequently the expression of the 
room can be altered. Fixtures can be designed 
to give more than one distribution of light. 
Even the color effects can be varied. The port¬ 
able lamp if designed for such purposes can pro¬ 
vide the same variety. Here we begin to enjoy 
the mobility of lighting effect—a mobility un¬ 
approached by furnishings and decorations. 
But portable lamps may provide not only the 
mobile lighting effects which well-designed fix¬ 
tures may supply but they themselves are mo¬ 
bile. Thus they make possible another degree 
of mobility and hence of variety in effect. 

Almost every lighting problem in the home 
can be solved by means of portable lamps (see 
Fig. 1), although in making this statement of 
possibilities the author does not wish to be un¬ 
derstood as recommending that the use of so- 
called fixtures be abandoned. However there 
are many advantages in using portables. Those 
who rent apartments or houses are quite gen- 
9 



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PORTABLE LAMPS 


erally dependent upon the taste of someone else 
in the matter of lighting fixtures. Usually that 
“someone” is a landlord, builder, or electrical 
contractor who knows little about lighting or 
has little personal interest in the apartment or 
house as a real home. At best his taste does 
not necessarily coincide with that of the house¬ 
holder who is the occupant. Furthermore the 
lighting fixtures generally found in apartments 
and homes for rent do not possess the facilities 
of design to provide such desirable factors as 
eye-comfort and variety in lighting effects. 

The householder is reluctant to go to the 
trouble of installing fixtures which he believes 
are more suitable, for this requires a mechanic 
and he is equally hesitant toward making the 
expenditure for new fixtures because his owner¬ 
ship may be questioned after they are installed 
if the building belongs to someone else. Some 
day fixture-plugs will be in general use so that 
a “fixture can be hung like a picture”; that is, 
so that a fixture may be fastened to the ceiling 
or wall as easily as the portable is now con- 
12 


PORTABLE LAMPS 


nected to the convenience-outlet in the base¬ 
board or elsewhere. 

Confronted by these drawbacks the house¬ 
holder finds it easy to assure himself that he is 
only renting temporarily, that he may build a 
house soon, or that he may move eventually into 
a more desirable apartment. Furthermore 
lighting fixtures are often rightly considered as 
*‘ necessary evils .’’ In other words, a fixture 
hung from the ceiling is often suffered to exist 
even though it may detract rather than add to 
the pleasing appearance of the room as a whole. 
This is true in many cases even though the fix¬ 
ture is appropriate in design, for some interiors 
appear better if there is no fixture hanging from 
the ceiling to interrupt the expanse. On the 
other hand, there are cases where a ceiling or 
wall fixture of proper design is the best solution 
of the particular problem. However, a portable 
lamp can usually be made to serve the utili¬ 
tarian needs if the portable is preferred and 
there is no question as to its being able to meet 
the artistic or ornamental requirements. Again 
13 


PORTABLE LAMPS 


the author wishes to state that these statements 
do not aim to recommend the general disuse of 
so-called fixtures. This will be left to the taste 
and the desire of the householder. This little 
volume merely aims to point out the possibilities 
of portables. Finally in view of the foregoing 
it is obvious that portable lamps present the 
best way out in many cases for by means of them 
the householder may so easily introduce indi¬ 
vidual taste and personality into fighting. 
There are also additional incentives toward the 
investment of thought, effort and money into 
portable lamps. They can be rearranged in ac¬ 
cord with furnishings and activities and they 
are even more mobile for they can accompany 
the householder when he moves into another 
apartment or into his new house. 

Portable lamps can be classified according to 
their distribution of fight. Most portables are 
what may be termed “direct-lighting” units; 
that is, in these the shade prevents most of the 
light from going upward and permits much of 
the fight to escape generally downward. There 
is another class of portables with which the pub- 
14 


PORTABLE LAMPS 

lie is less familiar. It includes those portables 
which permit much of the light to escape up¬ 
ward as well as downward. The simplest of 
these possesses a shade with an open top. 
Others of this class are equipped with a reflec¬ 
tor to send a great deal of light generally up¬ 
ward. The reflector may permit some light to 
escape downward or auxiliary light-sources may 
be available to furnish the direct component. 
Portables or fixtures which permit most of the 
light to escape upward may be termed “ indi¬ 
rect-lighting ’ ’ units because the light thus 
reaches the useful places indirectly by reflection 
from the ceiling. Those units which emit light 
both upward and downward may be called 
4 4 direct-indirect. ” If we carried out the termin¬ 
ology applied to fixtures we would use the term 
44 semi-indirect’ ’ for these latter ones. A still 
further class might be formed of the smaller 
purely decorative portables; that is, those which 
exist solely as ornaments, although even these 
emit some light which is more or less useful in 
illuminating the surroundings. 

Again we may separate portables into three 

15 


PORTABLE LAMPS 


classes, namely, floor-lamps, table-lamps, and 
ornamental novelties. But even these vary so 
widely in height and dimensions that the classi¬ 
fication is at best only general. 

Of course, in planning or in studying portable 
lamps we may prefer to classify them into utili¬ 
tarian and ornamental. For example, a lamp to 
be used for reading or for the writing desk must 
be designed satisfactorily to perform its purely 
utilitarian purpose. Then comes the question 
of artistic aspect. In this case the artistic is 
limited by the utilitarian needs. In the case of 
the ornamental lamp there are no limitations to 
the artistic except the ability of the designer. 
Here we must pause a moment to insert a com¬ 
ment which safety dictates. When we use the 
term “utilitarian” we have in mind its nar¬ 
rower meaning. We do not infer that the beau¬ 
tiful or artistic is not useful for we have long 
recognized the utility of beauty. Let us make 
our lamps beautiful by all means for then they 
are the more useful. And furthermore, if a 
lamp fails through ill-design to fulfill its utili¬ 
tarian purpose it is not beautiful in the broadest 
16 


PORTABLE LAMPS 


sense, notwithstanding its grace of line and its 
proportions. But this must suffice, for the scope 
of this little volume does not permit an excur¬ 
sion into the philosophy of the beautiful. 

No matter how much we desire portable lamps 
or how desirable they would be in filling certain 
needs, our wishes for them are largely in vain 
if we do not have convenience-outlets in the 
base-boards, walls, floor or furniture. Of course, 
we can connect a portable to a ceiling or wall- 
fixture but this often requires disfiguring the 
fixture by removing a shade and usually neces¬ 
sitates enduring the inconvenience and unsight¬ 
liness of a dangling cord. Notwithstanding 
the great possibilities of electric lighting and of 
appliances, it is astonishing that on the average 
only about one convenience-outlet is to be found 
in our residences. Most of us are familiar with 
that single base-board outlet in the modest 
apartment which exists in pitiful loneliness un¬ 
derneath the front window in the living-room. 
To it we must attach all our portables and ap¬ 
pliances by running the wires in a maze along 
the base-board and even over doorways. 

17 


PORTABLE LAMPS 


Kecently there has been an awakening to the 
need of many more convenience-outlets and 
now we find modern electrical homes of mod¬ 
erate size equipped with twenty to forty con¬ 
venience-outlets. Certainly no room in our 
home should be without at least one such outlet 
and it is easy to justify several in some rooms. 
It is unfortunate that we do not more generally 
appreciate the advantage of building our houses 
and apartments around furniture. In designing 
a house for ourselves we cannot do better than 
to lay out the furniture on our drawing paper 
and then locate the windows, doors, etc. By 
compromising here and there we finally harmon¬ 
ize these elements. We are now in a position 
to lay out the wiring, for this cannot be done 
wisely and well until the locations of various 
major articles of furniture, of wall-spaces, of 
windows and of doors are determined. If an 
adequate number of outlets is allowed, we will 
find a generous flexibility in the arrangement 
of furniture still available. Modern adequate 
wiring of a middle-class house is shown in Figs. 

18 


WMCAVATfcD 


Wiring Symbols 

COMVC'JSJE’MCC’ OUTLET 
CErlLING OUTLET 
DROP CORD OUTLET 
WALL BRACKET OUTLET 
SWITCH 



CAJtMLNT PLAN 


• i I I « I < • m » 

Fig. 2. Adequate wiring of basement. 

19 









































































PORTABLE LAMPS 


2, 3 and 4. Note the number of convenience- 
outlets now approved by lighting experts. 

It is not the intention at this point to discuss 
various rooms in detail, for this will be done in 
a later chapter. However, we wish to emphasize 
that generous wiring will prove a blessing 
throughout the coming years just as an inade¬ 
quate number of outlets will be a blight which 
we must endure at great cost in inconvenience 
and dissatisfaction. If we will seriously con¬ 
sider the value and possibilities of electricity in 
relation to other factors in a residence we can¬ 
not with fairness provide for less than an ade¬ 
quate wiring when cost and satisfactoriness are 
closely studied. This kind of serious comparison 
results in the installation of four, six, and even a 
dozen convenience-outlets in the living-room 
where in previous years through lack of ap¬ 
preciation of the possibilities of electricity only 
one outlet was provided and in many old resi¬ 
dences none. 

When providing convenience-outlets it is well 
to insist upon the latest which has been stand¬ 
ardized by a large group of the more important 
20 



s r v i;;: —:—j—i 


Fig . 3, Adequate wiring properly providing for 
many portables . 

21 











































































































JLCO ND FLOOH- PLAN 
Fig . 4* Adequate wiring of second floor . 


22 




















































































PORTABLE LAMPS 

manufacturers of electrical supplies. This 
standard takes the plug which consists of two 
brass blades or prongs. Then another marvel 
which is not generally known is the duplex or 
twin convenience-outlet of the same type. In 
using this, two separate plugs may be connected 
instead of one and this doubling of the number 
of portables which can be connected is brought 
about without an increase in wiring. In short, 
it is well to use the duplex or double conveni¬ 
ence-outlet in many cases instead of the single 
one of the past and to insist upon the standard¬ 
ized outlet. 

The foregoing is all very well if one is build¬ 
ing a new house but if one now owns or rents a 
residence in which the wiring is inadequate he 
is not absolutely without hope. If one owns a 
house no great difficulty will be encountered in 
installing convenience-outlets in the floor, walls, 
and base-boards of the first floor at least. Inci¬ 
dentally, very serious consideration should be 
given to the matter of outlets in the floor. 
Where the outlets in the base-boards will serve 
the purpose the floor outlet should be avoided. 
23 


PORTABLE LAMPS 


In the dining-room an outlet under the table is 
satisfactory because we know the table is al¬ 
ways to stand in a certain location. The matter 
of cutting a hole or ripping a seam in the floor¬ 
covering is a responsibility which the author 
does not accept but it is usually better to do this 
than to be bothered everlastingly by wires from 
the table to the wall or base-board. In general, 
it is a very easy matter to install convenience- 
outlets in houses already built. If they are of 
wood construction or if a wall-space is available 
in any kind of construction, no difficulty will be 
experienced in providing convenience-outlets. 
This is another powerful argument for the con¬ 
sideration of portable lamps as a means of light¬ 
ing. 

If one rents an apartment we advise first that 
diplomatic exchanges be instituted with the 
landlord. If no good results, next see what 
might be done with wire run along the wood¬ 
work from the outlets which by good fortune 
may be available. Usually persistence will 
bring about at least an improvement. If after 
all one does not succeed in obtaining an ade- 
24 


PORTABLE LAMPS 


quate supply of outlets, move! We who live in 
this age are entitled to its advantages along with 
the disadvantages. We should not be denied the 
joy of modem lighting. 

In connection with the portable lamp there 
is always the matter of the connecting wire. 
Some objections can be raised in regard to trip¬ 
ping over the wire and to tipping over the lamp 
but the author is writing this with ten portable 
lamps in view and there seems to be a remote 
possibility of anyone becoming entangled with 
the connecting wires. Certainly there has been 
no instance in the past of a difficulty of this kind 
in this particular room. Such objections disap¬ 
pear when serious consideration is given to the 
location of the outlets with respect to furniture 
and to the lamps. The connecting wires in all 
cases are behind furniture or arranged other¬ 
wise to be out of the way. 

This brings to mind another expedient which 
is bound to grow in popularity. Furniture can 
be wired so that any difficulty with connecting 
wires for portables can be overcome. The din¬ 
ing-room table can be wired so that the table can 
25 


PORTABLE LAMPS 

be plugged into the floor-outlet underneath. The 
plugs for small portables and appliances can be 
inserted in outlets provided underneath the 
table-top at a convenient location. The buffet 
can be similarly provided with wiring for small 
portables and appliances. The library table can 
be wired in a similar manner if desired. The 
piano can be provided with wiring so that it is 
a simple matter to connect a lamp over the 
music-rack or a small portable on each side. 
Even the davenport can be wired and provided 
with outlets for the insertion of the plugs of the 
portables on either side. The dresser and 
dressing-table in the boudoir can be similarly 
wired for the use of portables, detachable brack¬ 
ets, and electric appliances. Even beds have 
been wired for easy connection of a reading- 
lamp on the head of the bed. Wires can be con¬ 
cealed without difficulty in or on the back of 
many articles of furniture. One may be sur¬ 
prised at his own ingenuity in this direction if 
he will give serious consideration to the specific 
problems. 

Sometimes an outlet can be added to a fixture 
26 


PORTABLE LAMPS 

without disfiguring it. In the small living-room 
or study where there is a central fixture and 
no convenience-outlet this is a ready solution. 
Of course, it is necessary to have an article of 
furniture such as a table underneath the fixture 
if a table-lamp is to be connected and we must 
endure the dangling cord. But the latter is a 
minor discomfort in many cases compared with 
that of the absence of a portable. In the dining¬ 
room a neat outlet added to the fixture over the 
table offers an excellent solution when no floor- 
outlet is available. A silk cord may run down¬ 
ward from this outlet in the fixture to a multiple 
outlet on the table. To the latter, individual 
small portables and appliances can be connected. 
The accessories such as the multiple outlet and 
plugs can be obtained in small inconspicuous 
designs which are quite acceptable for this pur¬ 
pose. It is not difficult to provide a wall-bracket 
with an extra socket extending downward or 
even a plug receptacle in the metal portion 
against the wall. In dire emergency one may 
connect a socket to the wiring concealed behind 
the metal canopy on the wall. 

27 


PORTABLE LAMPS 

Finally, let us repeat that the design, the 
making and the application of the portable lamp 
are fascinating and fruitful enterprises. So 
many opportunities for ingenuity are offered 
that it is an interesting hobby. So many things 
can be made into portable lamps and so many 
improvements in lighting may be made by them 
that the householder will be well repaid for 
effort in this direction. Genius directed into 
lighting the residence will yield wonders toward 
making a house a home. 

The foregoing paragraphs have dealt with 
electric lighting rather than with lighting by 
means of open flames. This has been intentional 
and will be continued throughout the remaining 
chapters. It cannot be denied that the possi¬ 
bilities of electric lighting are greater than 
those of gas, kerosene and candles. Gas-light¬ 
ing has struggled valiantly to keep the pace set 
by modem electric lighting and it has achieved 
wonders considering the handicaps imposed by 
the open flame. Much of the discussion in this 
and in other chapters applies equally well to all 
kinds of lighting but it will be left to the reader 
28 


PORTABLE LAMPS 

to apply the principles to other kinds of light¬ 
ing. Certainly if one is so situated as to be 
required to use gas or kerosene lamps he can 
apply many of the principles found in these 
chapters. In order to avoid undue repetition it 
is thought best to limit the discussion to electric 
lighting in those phases where the question 
arises at all. 


29 


CHAPTER II 


PRINCIPLES OF DESIGN 

A survey of the portable lamps in existence 
indicates very definitely that, in general, the ap¬ 
pearance or artistic aspect is given most atten¬ 
tion. In fact, in a decided majority the artistic 
features receive the entire consideration. It 
is true that the artistic exterior in most cases 
is of final importance because this is what is 
seen. The portable must have proper propor¬ 
tions, pleasing lines, and a harmonizing color. 
But after all most portables are expected to 
perform a useful purpose at times at least. In 
any case no harm can be done in giving careful 
consideration to what might be termed the sci¬ 
entific aspect although it is hoped that this term 
will not be viewed by the reader with awe. The 
scientific aspect is not at all complicated; in 
fact, the reader may be surprised at the simplic¬ 
ity of the details which make a portable useful. 
30 


PRINCIPLES OF DESIGN 

There is also a great relief for those who are 
overwhelmed by the importance of the artistic 
aspect in the fact that all the results of mundane 
utilitarian consideration can be finally clothed 
in the much desired satisfactory artistic ex¬ 
terior. 

In the case of the purely ornamental portable 
we have little to say. We have our own tastes 
and we like what we think are beautiful things. 
Taste or artistic appreciation is so individualis¬ 
tic and founded upon so many influences that 
it cannot be wholly transmitted from one per¬ 
son to another. There are certain fundamental 
principles of form and color that have been es¬ 
tablished and enunciated by master artists. 
They have been presented in stereotyped form 
by hundreds and even thousands of lesser 
artists since they were first brought to light. 
But as a rule a treatise on interior decoration 
’or on any other artistic craft embodies little 
more than these few fundamental rules and the 
writer’s individual taste. The author does not 
propose to add herewith another treatise on 
artistic furnishing of the home for it is his be- 
31 


PORTABLE LAMPS 

lief that the householder must acquire taste 
largely by observation and study of good ex¬ 
amples. Starting with a few fundamentals 
anyone can go far in artistic appreciation and 
achievement if he attains to an ever-awake 
ability to observe, to analyze, and to experi¬ 
ment. To say that an artist is born perhaps 
presents a truth but a misleading one, for artis¬ 
tic appreciation and ability can be developed to 
a considerable degree. 

Unfortunately many persons appear to be¬ 
lieve that an object in order to be artistic must 
be startling, novel, gaudy, embellished, or un¬ 
usual. Certainly a safe rule for the uninitiated 
is quite the reverse. There is always safety 
in simplicity. A noisy person is conspicuous 
everywhere but a quiet one can pass in any 
crowd. A highly ornamental object can get 
along safely in a certain environment but a 
simpler design is in keeping with most of the 
settings in our homes. So when in doubt lean 
toward simplicity and plainness. Visualize the 
period styles and wisely choose the more simple 
for the home for they are more restful and cer- 
32 


PRINCIPLES OF DESIGN 


tainly a home should strive to he a haven of 
comfort and rest. 

Incongruity in combinations of the parts 
which make up a portable lamp is another pit- 
fall too commonly encountered. Just how far 
we can go in this direction is a question. Cer¬ 
tainly the use of vases for pedestals has been 
approved by the best tastes, provided the shade 
is of a material, a design and a color suitable 
to the vase. If the vase is modem the shade 
should be but if it is actually from out of the 
past or even a good imitation, the shade should 
harken back to the same period. Certain 
carved objects are approved as lamp pedestals 
but here again in providing the shade, the 
period and the race, besides other factors in 
common with any portable, must be taken into 
consideration. But how far can we go? Ob¬ 
jects carved in jade by the far eastern races are 
approved pedestals, for such portables can be 
purchased at a cost of thousands of dollars. 
Surely this is approval! 

Presumably any object could be used as a 
lamp pedestal if the shade is appropriate and 
33 


PORTABLE LAMPS 


the environment approved of the combination. 
Possibly a champagne bottle might he admiss¬ 
ible for such a purpose if the setting were prop¬ 
erly chosen. Antiquity removes some of the 
handicaps and apparently lessens the incongru¬ 
ity for many antiques appear suitable as lamp 
pedestals. Seriously, it appears wise to avoid 
the use of some objects in this respect, such as 
shrapnel shells and certain bits of statuary. 
Placing an electric filament lamp in the wick- 
hole of a Roman oil lamp is likely to prove a 
failure because the span of two thousand years 
is too great. If we can devise effective modula¬ 
tion, objects many centuries apart may be 
wedded without much worry over compatibility. 

To go far into the artistic aspects of color is 
also out of the question in this brief treatise. 
We should remember that there are two funda¬ 
mental color harmonies, those of contrast and 
those of similarity. A lamp shade may be yel¬ 
low for a blue pedestal or it may be blue. The 
former is a harmony of contrast in which the 
hues are approximately complementary. The 
other is a harmony of similarity in which the 
34 


PRINCIPLES OF DESIGN 

two blues are close in hue but may be quite dif¬ 
ferent as to shade or value. There are infinite 
variations between these two fundamentals for 
there are numberless hues, tints, and shades. 
As one acquires skill and taste he may venture 
further and further from these two safe havens. 
For those in doubt the safe rule is to subdue 
the color; use tints and shades and if any doubt 
still exists lean toward shades; gray the colors. 
Only a trained color-sense can use pure colors 
with safety. In this phase as in others of the 
artistic aspect, one will succeed only by accident 
if he lacks imagination or the ability to visualize 
vividly and accurately. One should not be 
afraid of color but certainly it is necessary to 
be cautious. 

Perhaps it may aid to describe some of the 
colors and their complementaries. A few pairs 
of complementaries are red and bluish green; 
orange and greenish blue; yellow and blue; 
greenish yellow and violet; purple and green. 
Great confusion arises in inaccuracy in color- 
names. Artists often speak of some purples, 
such as the bluish purples, as violet. If we are 
35 


PORTABLE LAMPS 


to base our names for hues on the spectrum 
(certainly there is no better basis) violet is a 
deep blue with only the slightest suggestion of 
reddishness. 

Purple consists spectrally of red and blue (or 
violet) and to the class of purple belongs a vast 
number of beautiful colors. Among these are 
pink, rose, magenta, mulberry, mauve and lav¬ 
ender. These are arranged approximately in 
their decreasing proportion of red and increas¬ 
ing proportion of blue (or violet). For ex¬ 
ample, pink is a tint of very reddish purple and 
rose is a lesser tint of a purple which is still 
quite reddish. Magenta is a purple (usually to 
some degree a tint) still inclined toward the 
red. Mulberry is a shade of purple still some¬ 
what reddish but not to the extent of the pre¬ 
ceding colors. Purple may be said to be a color 
in which the red and blue are about equal. 
Mauve is a purple inclining toward blue (or 
violet) and lavender is a purple decidedly blu¬ 
ish and to some degree a tint. A tint is made 
by adding white to a hue or, in the case of a 
dye, by diluting it. A shade is made by adding 
36 


PRINCIPLES OF DESIGN 

black to a hue. We can add black to a tint and 
therefore we can have various shades of a tint. 
For example, we can produce various shades of 
rose. 

By increasing the illumination we cannot 
within practicable limits produce the effect of 
diluting a color with white although with in¬ 
tensities as strong as sunlight outdoors, the hue 
of a red fabric, for example, begins to move 
toward the orange. In the case of small lamp 
shades close to a brilliant light-source this 
tendency toward apparent dilution is sometimes 
observable. On the other hand, by reducing the 
intensity of illumination on a colored surface 
we do produce deeper shades because in effect 
a reduction in the intensity of illumination is 
the same as adding black to a pigment or dye. 

A knowledge of many other facts of color is 
helpful in designing or in choosing portable 
lamps for the home. Many phases of color have 
been discussed elsewhere* from the scientific 
as well as the artistic or more broadly the psy- 

* “Color and Its Applications ,’’ 1915 and 1921, M. Luck- 
iesh. “The Language of Color /’ 1918, M. Luckiesh. 

37 


PORTABLE LAMPS 


chological viewpoints. Only some glimpses of 
the science and art of color will be presented in 
these chapters. A knowledge of color-mixture 
is necessary in order to eliminate guesswork 
in combining layers of fabrics to produce the 
final effect desired. 

It should be noted that the illuminant has a 
considerable effect upon the appearance of a 
color so in combining fabrics be sure to view 
them by light transmitted from the light-source 
to be used. The appearance is generally quite 
different with artificial light than with daylight. 
For example, a mulberry may be just the color 
desired when appraised under daylight but 
when viewed by transmitted artificial light it 
may be quite too reddish. In general, colors 
lose blue and gain red when illuminated by arti¬ 
ficial light. 

Colored materials often appear quite differ¬ 
ent by transmitted and by reflected light respec¬ 
tively. An appreciation of this fact will some¬ 
times forestall disappointment. Furthermore 
in choosing a colored fabric for a shade it should 
be remembered that the colored light which is 
38 


PRINCIPLES OF DESIGN 

transmitted is going to illuminate objects. This 
is not a factor in choosing a color for a vase or 
other ornament which is not to transmit quan¬ 
tities of light like a lamp shade. A green vase, 
for example, may be just the correct note in a 
decorative scheme but a green shade trans¬ 
mitting quantities of light which illuminate the 
faces of our charming guests at dinner is likely 
to be rather incorrect. 

It is to be noted quite generally that designers 
of artistic lighting fixtures, and especially of 
portable lamps, fail to draw a simple diagram 
which would insure the utility of the lighting 
device. Even the householder, who is con¬ 
templating the design or purchase of a shade 
for a pedestal or of a shade and pedestal, will 
find it of great help to make a drawing to scale. 
This drawing need not be one of artistic details. 
It need only consist of the diameter and depth 
of the shade, its general outline, the height from 
the base of the pedestal, and the position of the 
light-source. A little consideration will reveal 
quite definitely how large the shade should be 
to appear properly proportioned. Then a shop- 
39 


PORTABLE LAMPS 


ping trip can be made with a guarantee of suc¬ 
cess for if a twenty-inch shade is required the 
drawing will show it. This converts the usual 
guesswork into reasonable certainty. 



Fig . 5, Showing the 'principal related dimensions 
which determine the usefulness of a portable lamp . 

But the drawing does a great deal more for 
it will reveal certain features which go to make 
up a satisfactory portable from the viewpoint 
of utility. In Fig. 5 we have the bare outline of 
40 



















PRINCIPLES OF DESIGN 

a shade supported at a certain distance above a 
table top. In order that certain simple terms 
may be clearly understood let us refer to the 
dimensions represented by the letters. D is the 
depth of the shade. This includes the fringe 
if one is used, for a fringe intercepts light and 
must be taken into account. H is the height 
of the shade above the top of the table or the 
floor as the case might be. A is the maximum 
width of the aperture of the shade and will al¬ 
ways mean the lower aperture. L is the height 
of the light-source (the filament of the electric 
lamp) above the floor or table. Incidentally the 
height of the pedestal exclusive of the socket 
and electric lamp, is of importance from a utili¬ 
tarian viewpoint only in so far as it affects the 
height of the light-source or of the shade. Fin¬ 
ally, S is the angular spread of the direct com¬ 
ponent of light which is an important final result 
when utility is considered. As will be seen later, 
the spread may also refer to the upward com¬ 
ponent of light from a shade with an open top or 
from one even more definitely designed to give 
some indirect lighting. It is the angle between 
41 


PORTABLE LAMPS 


the vertical axis of the pedestal and the line 
drawn from the light-source through the bottom 
edge of the shade. If the aperture is not circular 
the line is drawn from the light-source through 
the edge of the greatest distance from the 
pedestal. 

But even the angular spread is not the final 
factor for we can lower the shade and light- 
source by shortening the pedestal without alter¬ 
ing the angular spread. However, in doing so 
we shorten the distance U which is arbitrarily 
taken as the maximum distance from the axis 
of the pedestal where direct light falls along the 
plane of the table-top. This plane appears to 
be the best choice for this purpose. If the draw¬ 
ing is made to scale the distance U in feet or 
in inches is obtained. From such information 
it is possible to ascertain whether or not the 
useful direct light is spread over an area too 
great or too small. 

It is obvious that if the spread of light is 
large, as in Fig. 6, the direct light covers a wider 
area of usefulness; however, in this case it is too 
great because the light-sources are not suffici- 
42 


PRINCIPLES OF DESIGN 


ently screened from view. A table is generally 
about thirty inches in height and an adults eyes 
are usually about fifteen inches above this level 
when seated in a chair as for reading. In such 



Fig. 6. Portable giving a wide spread of light; in 
this case it is too wide. 

a case as Fig. 6 the reader must move to a con¬ 
siderable distance from the table before his 
eyes are above the imaginary line (the boundary 
of the spread) which is drawn from the light- 
source through the bottom edge of the shade. 
Being above this line insures the reader of hav- 
43 





PORTABLE LAMPS 


ing the light-source screened from view but 
when this is accomplished by moving far from 
the light-source the intensity of illumination 
may be too low. 

A study of Fig. 5 shows that several factors 
influence the useful distance U, If the pedestal 
is lowered S is unaffected but U is decreased. 
If the light-source is raised S and U decrease 
but if it is lowered they increase. If the aper¬ 
ture of the shade is increased, S and U increase, 
but if it is decreased, they are decreased. 

In Fig. 7 we have a common type of shade— 
the cylindrical one. With the dimensions shown 
the spread of light is too small to be very useful 
unless the work is held close to the lamp. It 
would be generally unsatisfactory from a utili¬ 
tarian standpoint but this shape has artistic 
possibilities. By lowering the light-source in 
the shade or increasing the diameter of the 
shade it is improved in usefulness because the 
spread of direct light is increased. It is not 
wise to trust to transmitted light for obtaining 
sufficient intensity for working or reading be¬ 
cause the shade usually would be too bright 
44 



Fig . 7. The closed-top cylindrical or drum shade, 
showing component of direct light . 


45 






PORTABLE LAMPS 

for eye-comfort. Lamp shades must be shades 
in the strictest sense because owing to their low 
position the shades are directly in the field of 
view and, therefore, we should not have them 
bright. In other words, the shades must be 
dense and we must depend largely upon the di¬ 
rect light for close work involving vision. 

So far we have been considering portables 
with one light-source. Unfortunately the use of 
more than one light-source complicates matters. 
For example, in Fig. 8 we have two of them. 
The spread from each light-source must be 
taken into account and this varies for different 
directions from the portable. At a certain posi¬ 
tion all dimensions may be quite satisfactory for 
one of the light-sources but the other light- 
source or light-sources may be quite unshaded 
and glaring. Carefully investigate this with 
any portable and you will be convinced that 
ofttimes the ideal is to employ only one light- 
source. This is rarely being done in the larger 
portables at the present time notwithstanding 
the simplicity of construction and also of the 
higher efficiency of the larger electric filament 
46 


PRINCIPLES OF DESIGN 


lamps. Of course, there is the advantage in the 
case of two or more light-sources of having a 
low illumination when only the charm of the 



light is desired and a high intensity when read¬ 
ing or sewing is to be done. 

No precise rule can be given as to the amount 
of spread or to the useful distance U (Fig. 5) 
necessary from a utilitarian viewpoint. The 
conditions vary so much that precision is im- 
47 









PORTABLE LAMPS 

possible. A library table may be large, thus 
making it impossible to get close to it, or it 
may be small so that the reader and his book 
may be close. Experience indicates when the 
spread is less than forty-five degrees the lamp is 
not very useful except as an ornament and for 
the light that it contributes to the general il¬ 
lumination of the room. In general, the spread 
should be in excess of forty-five degrees but not 
too much so. 

The same analysis applies to floor-lamps for 
all that is necessary is to imagine a table-top 
thirty inches above the floor. Just as table- 
lamps may vary in height in accordance with 
their other dimensions so may floor-lamps. The 
most common floor-lamp generally is not over 
five feet in height and the light-sources are 
usually about four and a half feet above the 
floor. If the top of the shade is less than five 
feet above the floor it is usually best to have the 
top closed. In the case of table-lamps this 
rule can not be generally applied in practice 
although in this case it is best not to have shades 
open at the top if, when the lamps are setting 
48 


PRINCIPLES OF DESIGN 


on the table, the top of the shade is much below 
five feet from the floor. 

A desirable miniature floor-lamp which until 
recently was rarely found is one about four feet 
in total height. If this has a nearly flat shade 
it is a very useful portable and it can be very 
decorative. Such a portable can be placed near 
a chair or davenport for reading and inasmuch 
as it sets on the floor it obviates the necessity 
for a table. Floor-lamps have a decided ad¬ 
vantage in this respect for they can be used for 
reading, for sewing, for illuminating tables and 
piano music, and for various other useful pur¬ 
poses without requiring an article of furniture 
as a table-lamp does. 

The height of the light-source or rather of 
the middle of the shade is quite important in 
some cases. For example, in the boudoir one 
stands at the dresser but sits at the dressing 
table. The top of the dresser is nearly three 
and a half feet above the floor and an adult 
when standing desires a light-source about five 
and one-half feet above the floor. This calls 
for dresser-lamps nearly two feet in height. In- 
49 


PORTABLE LAMPS 

asmuch as these portables must be slender their 
construction is an important matter. Quite the 
opposite situation is found at the dressing-table 
whose top is about thirty inches above the floor. 
The person being seated desires a light-source 
not more than three and one-half feet above the 
floor. This calls for a squatty portable about 
one foot in height. These are merely touched 
upon in passing but they will be considered 
further in another chapter. 

In general, shades should be lined with ma¬ 
terial which reflects light efficiently. Usually 
white is used but a cream-tinted material seems 
to reduce the harshness of the light considerably 
without reflecting appreciably less light than the 
white. Of course, in some cases it is desirable 
to obtain the charm of tinted direct light and 
this can be obtained by means of a colored lin¬ 
ing. For example, a rose lining will reflect 
light appreciably tinted. However, there is 
usually a harshness to the direct component of 
light when the lining is rather dark. The con¬ 
dition is a good deal like the sun without the 
softening effect of sky-light. A white or cream- 
50 


PRINCIPLES OF DESIGN 


tinted lining takes the place of the sky in the 
direct-lighting effect under the lamp. 

This same point applies to the use of portable 
lamps in general. If we have portables with 
dense shades and no openings in the top some¬ 
times an insufficient amount of light reaches the 
upper walls and ceiling. This is particularly 
true when the lower walls and especially the 
floor-covering are rather dark or of low reflect¬ 
ing power. Although the cozy charming effect 
of portable lamps is due largely to the subduing 
of general light, a certain amount of scattered 
or general light is desirable. If there is not 
an appreciable amount of general light the room 
may appear dingy and reading, sewing and 
other activities which call for close vision are 
likely to result in eye-strain. In order to avoid 
this extremity it is wise to have a shade or two 
with open tops or even a portable or two which 
provide indirect or upward components of light. 
The latter are discussed in later paragraphs. 

It is hoped that the foregoing discussion of 
certain technical principles has not discouraged 
the reader for they are important when design- 
51 


PORTABLE LAMPS 


ing, purchasing, or using portable lamps. These 
are principles which, notwithstanding their 
simplicity, are very generally ignored. They 
are real vital factors for they determine not 
only the usefulness of the individual lamp but 
also the character of the lighting effect of a 
group of portables. We could go on much 
further with the analysis of principles but in¬ 
stead of risking boring the reader we will trust 
this introduction to lighting principles will sug¬ 
gest other important details. Furthermore 
other phases? will be touched upon here and 
there in connection with the construction and 
use of portables. 

However, there is still one important aspect 
of portables that must be discussed here because 
it possesses so many possibilities little known 
to the user of light. This is the upward com¬ 
ponent or indirect lighting obtainable from 
portables which eliminates the risk of dinginess 
when only direct portables are used. This also 
makes it possible to illuminate even large rooms 
to a sufficiently high intensity for any occasion 
by the method of so-called indirect lighting. 

52 


PRINCIPLES OF DESIGN 

Many charming rooms are now lighted with a 
variety of effects for any occasion without the 
use of any wall or ceiling fixture. This possi¬ 
bility of indirect lighting is final proof of the 
extreme variety of moods or of lighting effects 
obtainable solely by the use of portable lamps. 

The simplest portable from which an upward 
component of light, and consequently indirect 
lighting, can be obtained is that which possesses 
a shade having an open top. In Fig. 9 two of 
these are shown in simple outline. The con¬ 
fines of the upward components are shown by 
the broken lines. In the case of a cylindrical 
shade the upward component is of the form of 
a cone and in the case of a shade with a square 
cross section it would be of the form of a pyra¬ 
mid when one light-source is used as shown. 
It is seen that the shade A does not provide a 
very useful direct component but shade B does. 
Of course, if the diameter of the shade A were 
increased it would also supply a more useful di¬ 
rect component. 

It is strange that fixture designers and others 
have been quite slow in awakening to the fact 
53 


PORTABLE LAMPS 


that considerable equipment can be concealed 
within the shades of portable lamps. A next 
step toward indirect lighting is shown in Fig. 



Fig. 9. Illustrating the upward component of 
light from open-top shades; also the direct down¬ 
ward component. 

10. In this case a prismatic glass reflector is 
supported upon a pedestal. This reflector 
sends light upward but permits some light to 
54 
















Fig. 10. A portable designed to provide indirect 
lighting as well as direct light. The large central 
light-source is surrounded by a prismatic glass 
reflector which directs most of the light upward. 


55 





PORTABLE LAMPS 


pass through which illuminates the shade. Thus 
with only the center light-source in operation 
we have an indirect lighting unit with the shade 
sufficiently luminous to be pleasing in appear¬ 
ance. An ordinary room can be illuminated by 
such a portable by light reflected from the ceil¬ 
ing. Additional lamps may be installed as 
shown, from which a direct component may be 
obtained when desired. This is a very desirable 
portable for many purposes. A simple lamp of 
this type can be made with a single light-source 
and a small opal-glass reflector supported on 
top of the pedestal. 

A more elaborate portable lamp of the direct- 
indirect type is illustrated in Fig. 11. This was 
the first of this kind developed commercially. 
It consists of a silvered glass reflector of wide 
aperture for providing the upward light. This 
reflector permits some light to escape at the 
bottom which eventually illuminates the shade 
satisfactorily. Other lamps are provided as 
shown for the purpose of obtaining direct light. 
In Fig. 12 is shown a very simple indirect- 
lighting portable. 


56 










Fig. 11. A direct-indirect portable. The central 
light-source is surrounded by a silvered reflector 
•which sends the light upward. Below this is an 
opal glass which permits some light to escape , so 
that the shade is illuminated even when the smal¬ 
ler electric lamps are unlighted. 


57 









PORTABLE LAMPS 

There are many possible variations of this 
basic idea and indirect lighting may be obtained 
from table-lamps, floor-lamps and various port¬ 
able novelties which rest on the bookcases, on 
the piano, or on other things. Indirect lighting 
from portables can be obtained by means of 
shields placed in front and extending around the 
sides of a light-source or several light-sources. 
These must be placed near the walls and there¬ 
fore some light is reflected from the walls. Such 
portables with shields are useful in lighting 
pictures and other objects. 

The tops of the portables used for indirect 
lighting should not be so low as to permit a 
person standing to see the light-source easily. 
Floor-lamps of this character can be nearly six 
feet high and still appear satisfactory. A table- 
lamp can not have the top of the shade so high 
because the lamp would appear too tall for the 
table. However, if the top is thirty inches high 
it is not out of place if of large size and in the 
proper setting. When care is taken to have the 
light-source sufficiently low or shielded in a 
small reflector as in Fig. 10, the top of the shade 
58 



Fig. 12. A simple indirect-lighting portable, with 
an opal glass shade which diffuses some light to 
the exterior decorative shade . 


59 















PORTABLE LAMPS 

need not be higher than any ordinary large 
table-lamp. 

The possibilities of indirect lighting by 
means of the portable lamp have been well 
demonstrated by many installations; neverthe¬ 
less, they are too little known. The householder 
and others will find in them many satisfactory 
solutions of lighting problems. Many varia¬ 
tions of the principles discussed await those 
who will give this type of portable the consider¬ 
ation it deserves. 

Just as the shade with open top should gen¬ 
erally be confined to the tall portable, short 
portables should generally have closed tops. If 
the short portable has an open top so that the 
light-source is easily visible there will be many 
occasions when it is glaring and therefore un¬ 
satisfactory. A good example is the short port¬ 
able for the dressing table. Of course, when 
seated at the table one is not likely to see into 
the top but when standing such portables are 
likely to be unsatisfactory. Incidentally, for 
the dressing table the shades may be such as 
to be easily tilted for there are occasions when 
60 


PRINCIPLES OF DESIGN 


the more intense illumination directly from the 
light-sources is desirable. 

There are many ways of fastening the shade 
to the pedestal. In the small portables a shade- 
holder is held on the lamp bulb by its own spring 
clutch. This is not wholly satisfactory for the 
shades are generally awry. Candle portables 
may have the shade-holder fastened to an up¬ 
right which is clamped to the candle by means 
of a spring clip. These methods serve some pur¬ 
poses but the best way is to have the shade- 
holder fastened solidly to the upper part of the 
pedestal. This will be found much more satis¬ 
factory even with the smallest portables. There 
is not only an air of stability and permanency 
but a general neatness in the appearance due 
to the fact that the shades are not easily dis¬ 
lodged from their proper position. 

Shade-holders for most ordinary portables 
should be designed preferably in many cases 
for a single light-source unless a variety in in¬ 
tensity of light is specifically desired. This 
means that the electric incandescent lamp will 
stand upright at the top of the pedestal. The 
61 


PORTABLE LAMPS 


effect is more symmetrical and generally more 
satisfactory than when more than one light- 
source is used unless, of course, both direct and 
indirect components of light are desired. In 
using a single light-source the size of the elec¬ 
tric lamp is limited only by the depth of the 
shade. The more efficient gas-filled electric 
incandescent lamps can be used for the larger 
portables. For the very short portables it is 
sometimes necessary to use the round-bulb 
lamps owing to the smallness of the space avail¬ 
able. In the very small and slender portables 
the candelabra lamps should be used. In gen¬ 
eral, diffusing bulbs eliminate a harshness in 
lighting effect sometimes produced by clear 
lamps. The matter of light-sources is discussed 
in a later chapter. 

The harshness of lighting effect sometimes 
encountered in the ordinary direct-lighting port¬ 
able can be overcome by a device illustrated in 
Fig. 13. This portable is made entirely of 
metal. A reflector R surrounds the light-source 
and reflects the light upward to the inner sur¬ 
face of the metal shade S. This surface is 
62 



Fig. 13. The light-source is shielded by an opaque 
reflector y R. The light is reflected from the inner 
surface of shade , S. Thus, coming from a large 
area istead of a small brilliant filament , the light¬ 
ing is less harsh. 


63 








PORTABLE LAMPS 


white or slightly tinted. It reflects the light 
downward and the light coming from the large 
area of the inner part of the shade is less harsh 
than if it came directly from the lamp. The 
principle is analogous to substituting a bit of 
sky for the direct rays of the sun. Suitable deco¬ 
rative treatments for such a lamp are obvious. 
One which is especially satisfactory in this case 
is to have a dense opal-glass lining inside the 
shade S and to have ornamental patterns cut 
through the metal shade. A modification of this 
scheme is to use a deeper shade of any suitable 
material which is white inside and to substitute 
a very dense opal-glass reflector for the metal 
one designated by R s 


64 


CHAPTER III 


PEDESTALS 

The choice of materials and of objects for 
pedestals is limited only by cost and congruity. 
Various kinds of turned and carved wood, vases, 
wrought iron, metal tubing, candle-sticks, glass, 
ornaments and antiques are used. How far we 
may go toward enlisting ornaments for such 
service must be left to the individual taste. Ob¬ 
servation and careful consideration may be sup¬ 
plemented by advice which can be respected a£ 
worth while. Antiquity removes some of the 
handicaps an object might otherwise possess. 
Beautiful carvings in wood and marble are ap¬ 
proved although in the use of statuary it is easy 
to err on the side of incongruity. Certainly a 
figure in quiet repose cannot support a lamp 
shade without arousing in us a feeling of sym¬ 
pathy for one whose repose is violated by the 
necessity of straining muscles to do the work 
65 


PORTABLE LAMPS 

of supporting a shade. Furthermore, the atti¬ 
tude of the modelings of living animals or beings 
must be in keeping with the office of supporting 
a light-source and shade. It is a safe rule to 
have the pedestal a support in every sense al¬ 
though taste and usage approve stressing this 
point to some degree. 

The use of wood is very common and in many 
cases the pedestal constructed of this material 
is purely a supporting member. The kind of 
wood and its decorative treatment are quite a 
matter of taste and therefore are subject to 
great variation. Appealing forms can be made 
by the method of turning and some of the most 
charming simplicity is obtained in this manner. 
On the other hand, the commonness of this treat¬ 
ment may lead us to the choice of carving (Fig. 
14) but in adopting carving we should not over¬ 
look the fact that we are entering the phase of 
embellishment which is usually more difficult 
to reconcile with the average modest interior. 

We appreciate genuineness and therefore we 
like real mahogany, teakwood and walnut. 
However, there is no reason why we should 
66 


PEDESTALS 


not be permitted to use other woods if we can¬ 
not afford the more costly ones. Poplar prop¬ 
erly stained provides a fair imitation of ma- 



Fig. H, Wood pedestal with burnished gold 
highlights . 

hogany. Of course in the case of polychrome 
(Fig. 15), or of painted pedestals, the basic 
wood is of little moment. Those who like to 
work with their hands will find it an easy mat- 
67 





PORTABLE LAMPS 

ter to make pedestals of wood. It is usually 
out of the question to have a solid piece for the 
entire pedestal or even for either the base or 
the column. In fact, better mechanical results 



Fig . 15. Polychrome pedestal. 


and durability are obtained by built up sections. 
Generally two pieces are sufficient for the col¬ 
umn. These are carefully smoothed on one side 
and a longitudinal groove is cut in the smoothed 
sides. The two sections are now glued and 
clamped together until the glue is dry. The 
68 




















PEDESTALS 


grooves now being juxtaposed, provide a place 
in the interior of the column for the electric 
wiring or for piping in the case of a gas- 
portable. The base is also constructed in a 
similar manner. In fitting the pieces the grain 
should be taken into account. Sometimes the 
base is turned separately and after the col¬ 
umn is turned it is inserted into a hole pro¬ 
vided in the base. 

Poplar and various cheaper woods are quite 
satisfactory for pedestals. They take stain or 
paint very well. Such a pedestal finished with 
black paint and rubbed well after various ap¬ 
plications can be made very beautiful. For 
the boudoir, pedestals painted in warm grays 
and appropriately decorated provide artistic 
portables. Anyone with care can do much in 
the finishing of wood pedestals. If it is possi¬ 
ble to finish them in the lathe an excellent re¬ 
sult can be assured. Shellac will be found 
to be more satisfactory than varnish in many 
cases because it dries so quickly. 

Perhaps the layman may hesitate to try his 
hand at carving but it is not too difficult for 
69 


PORTABLE LAMPS 

venturing into. A book on ornament is helpful 
in this case as in other phases of the making 
of portable lamps. A pattern may be chosen 
which is in accord with a pedestal built up of a 
square or polygonal cross-section and such a 
pedestal can be made without the equipment 
necessary for wood-turning. 

Some very unique finishes can be developed 
on wood by using chemicals and even by means 
of raw pigments rubbed into the grain. A ped¬ 
estal may be turned of the shape of an elabo¬ 
rate vase. If red, green, blue, or other pig¬ 
ments be rubbed into the grain in a skillful 
manner a unique pedestal is the result. Varnish 
will add the appearance of glaze. Wood offers 
many possibilities if one will experiment with 
shape and finish. 

The use of wrought iron pedestals is well 
known. In the proper place such a pedestal sur¬ 
mounted by a silk or a parchment shade is 
very effective. They make sturdy lamps suit¬ 
able for many interiors. (See Fig 16.) 

When a tall slender portable is required such 
as on the dressing-table, metal tubing proves 
70 


PEDESTALS 


quite satisfactory. The tubing is cut of correct 
length and threaded at the top and bottom. A 
turned wood base may be provided with a suit¬ 
able hole in the center and it can be fastened 



Fig. 16. Wrought iron table lamp with soft old 
Florentine finish. Blue and gold twenty-four 
inch silk shade. 

to the tubing by means of a threaded nut. The 
shade-holder and fixture can be screwed on the 
top. Of course, the tubing can be of a metallic 
finish but it is easy to cover it with pleasing 
results. A strip of velvet is folded wrong side 
71 




PORTABLE LAMPS 


out and stitched on a machine. This is now 
turned right side out and slipped over the tube. 
Suitable means can be provided for sewing the 
velvet covering to the top and bottom ends of 
the tube to hold it from slipping. If the seam 
is properly sewed and trimmed it will not be 



Fig . 17, A vase for pedestal, 

conspicuous. However, a longitudinal slot in 
the tubing can be provided for the seam to be 
imbedded into with the result that the bulge 
of the seam disappears. The metal tubing 
mayjbe wrapped with twisted cord or other 
material. 

Vases have been very popular for pedestals 
and rightly so for some of the most charming 
portables have such pedestals (Fig. 17). There 
72 









PEDESTALS 


is such a variety of them that it is usually pos¬ 
sible to find one suitable. Perhaps one of the 
chief criticisms of their use can he directed to¬ 
ward those of such large diameter that they 
destroy the usefulness of the direct component 
of light. But of course, for purely ornamental 
purposes, this objection disappears if the port¬ 
able as a whole is artistic. Then there is the 
matter of congruity. Certainly a Japanese vase 
should usually have a shade of Japanesque de¬ 
sign. This may be a pagoda shape but there 
are many places where this shape is unsuitable 
owing to its complexity of line. A solution is a 
panelled shade with simple Japanesque designs. 
The style can be carried out even more com¬ 
pletely in some cases by having the frame of 
the shade of lacquered wood. We also have the 
antique vases with which it is well to carefully 
consider the material for the shades. For a 
dark bronze vase a parchment or old gold fabric 
is suitable. 

The shade-holder may be of spun metal to fit 
the top of the vase but if one wishes to con¬ 
struct the holder himself he will find it easier 
73 


PORTABLE LAMPS 

to turn a piece of wood of the proper shape to 
which the metal parts may be fastened. If the 
vase is of glass or of porcelain the drilling of 
a hole near or in the bottom of the vase may 
best be done by an expert. However, there is 
no difficulty in doing this by using a brass tube 
for a drill. A paste of water and fine emery 
powder is applied at the point where the tubular 
drill is turned against the vase. The addition 
of turpentine appears to make the drilling less 
difficult in some cases. 

Candlesticks new and old are among the most 
interesting of pedestals. These can be obtained 
of a great range in size from the smallest ones 
in which candelabra lamps are used to the large 
ones suitable for full-size table-lamps. In fact, 
high standards can be found which are suit¬ 
able for floor-lamps. Parchment and tapestry 
shades harmonize very well with the older can¬ 
dlesticks although silk and other fabrics of 
dignified color and pattern can be successfully 
used. For the library table a pair of large 
candlestick portables is very satisfactory. Like¬ 
wise in the dining-room the smaller candlesticks 
74 


PEDESTALS 


make suitable ornaments when equipped with 
electric lamps. In fact, candle portables in 
which candles are burned provide a charming 
note on the buffet or even on the dining-table. 
In this case a mica cylinder may be used to 
protect the shade from the flame. When pur¬ 
chasing candlesticks with the view to using 
them as pedestals for portables it is well to 
examine them carefully to ascertain whether 
they can be drilled lengthwise for wiring. If 
they cannot it is well to look for some which 
can be, for the wire should emerge at or near 
the base if they are to look well. Sometimes it 
is desirable to insert a tubing painted to imitate 
the candle and to have this contain the socket 
for the lamp. Candlesticks with a number of 
arms have been successfully used for pedestals 
but ofttimes it is impossible to conceal the wires 
in them. 

The old candelabrum or support for the oil- 
lamp as used by the Romans has been electrified 
with success. It may be equipped with a shade 
but perhaps it is better to use it as a support 
for an urn, vase, or other receptacle in which 
75 


PORTABLE LAMPS 


lamps are concealed. This makes it possible 
to obtain a unique indirect lighting. 

Old kerosene lamps may be electrified with 
success by the addition of the proper equip¬ 
ment. Some of these will be found to make very 
attractive pedestals for portables. 

In constructing the fixture or holder at the 
top of the pedestal one will find it to advantage 
to go to a lighting-fixture shop to acquire the 
fittings necessary. Connectors for fastening 
the sockets in any position and other parts can 
be purchased. In fact, one may obtain the com¬ 
plete fixture and holder ready for fastening to 
the pedestal. However, there is usually oppor¬ 
tunity to improve upon or to alter those avail¬ 
able in the market so that they suit the specific 
case better than originally. Ofttimes a lit¬ 
tle ingenuity will produce a more compact fix¬ 
ture for a small shade or a very shallow one 
than is obtainable from the dealer. An inquiry 
into the various kinds of sockets is likely to 
be of advantage. The so-called snap-switches 
are least expensive but usually are not as satis¬ 
factory as the pull-chain socket. The pull-chain 
76 


PEDESTALS 


can be obtained in any length or it may be re¬ 
placed by a cord or braided silk. These may be 
finished with a tassel, a piece of carved wood, 
or any suitable ornament. By extending the 
length of the cords one will be repaid for the 
effort in convenience. 

In selecting or in constructing a portable 
lamp, the shade-holder and the arrangement of 
the sockets are perhaps the most important 
mechanical features. A firm holder will insure 
against the constant annoyance of a flimsy one. 
This portion of the pedestal is responsible for 
much of the utilitarian effectiveness of the port¬ 
able lamp. In the preceding chapter the con¬ 
struction of various special portables for indi¬ 
rect lighting was touched upon. In a later chap¬ 
ter various novelties which involve pedestals 
are discussed. 


77 


CHAPTER IV 


LAMP-SHADES 

It is not the intention in this chapter to dis¬ 
cuss the details involved in actually making the 
shade. One skilled in needlework and possessed 
of a creative spirit will accomplish much by 
observation, study and experimentation. Fur¬ 
thermore printed matter is available pertaining 
to this point and various shops and department 
stores give information freely pertaining to the 
actual details of construction. It is the aim of 
this chapter to point out certain principles and 
to discuss materials to the extent of aiding in 
planning or in purchasing portable lamps or 
lamp-shades. 

If a shade is to be made for a certain pedestal 
it is well to draw an outline sketch of the ver¬ 
tical profile to scale. This enables one to ex¬ 
periment with the shape and dimensions before 
investing time and money in shopping or in 
78 


LAMP-SHADES 


making the shade. Such a sketch is likely to be 
an economy in any case. When considering the 
design of an entire portable for a certain place 
the sketch is the best beginning whether it is 
the intention to make the portable or to pur¬ 
chase it. If the pedestal is already possessed 
the material for the shade is a matter of serious 
consideration. For a dignified pedestal such as 
an antique vase, dark wood, wrought iron, or 
an old candlestick it is obvious that frivolous 
patterns and light tints are unsuitable. Parch¬ 
ment, brocade, dignified solid colors in silk and 
some other woven textiles are better for such 
pedestals. On the other hand for the daintier 
pedestals there are plenty of materials avail¬ 
able. 

Among the materials which are used for 
shades are taffetas, heavy China silk, printed 
silks, batik silks, painted silks, brocades, georg¬ 
ettes, crepe silks, brocaded chiffons, cretonnes, 
metallic brocade, gold cloth, tapestry, velvet, 
linen, parchment, glass, mica and metals. 
Among the materials used for trimming edges 
are moss, guimpe, chenille, bead and silk fringe, 
79 


PORTABLE LAMPS 


lace, niching. Sometimes a flounce is used to 
finish the bottom edge of the shallower shades. 
The variations of treatment of these materials 
are numberless. 

Parchment and vellum are quite expensive 
but good drawing paper when rubbed first with 
linseed oil and then painted produces effects 
approaching that of parchment. Linen may be 
shellacked or varnished and then painted with 
oil paints. Silk and other woven fabrics can 
be painted with success. Heavy paper well 
painted so that it is nearly opaque can be per¬ 
forated with various designs and over these cut¬ 
outs thin paper may be pasted on the inside. 
Various pleasing effects may be obtained in this 
manner. Mica may be made into cylinders or 
used in panels. It is very satisfactory for orna¬ 
mental lamps. Suitable pedestals upon which 
cylinders of warmly tinted mica are mounted 
are very charming torcheres (Fig. 18). 

Shades may be classified in various ways but 
from the viewpoint of lighting effect they may 
be divided into shields, shades with closed tops 
and those with open tops. The shields are 
80 


LAMP-SHADES 


usually confined to candlestick portables. These 
vary from the smallest to the large floor 
type. They are not often practicable except for 
those cases where the portable is located near 
the wall. Otherwise the light-sources are likely 



Fig . 18. Wrought iron pedestal and mica shade. 

to be seen. The shield should not only be be¬ 
fore the light-sources but should extend around 
the adjacent sides sufficiently to shade the light- 
sources from all positions of the observer. 
Portables of this type are not only ornamental 
but they can be skillfully used to illuminate pic¬ 
tures, tapestry and other objects. The mate- 
81 




PORTABLE LAMPS 


rials most generally suitable for shields are 
parchment, tapestry and silk but there are some 
suitable glass shields available in the market. 

Shades with open and with closed tops have 
been discussed in Chapter II in connection with 
the principles of design. The open-top shade 
should be considered oftener than it is for it 
permits some light to emerge directly upward. 
This is always valuable when using portable 
lamps for it provides some diffused general 
lighting. As stated before this is always good 
insurance against too little general lighting 
which sometimes results from the use of closed- 
top shades entirely. 

Wire-frames for shades can be obtained in a 
great variety of shapes and sizes. Even per¬ 
sons possessing skill and the desire to make 
their lamp-shades will find it generally the wiser 
plan to purchase the wire-frames. If special 
shapes or sizes are desired it is not difficult to 
have them made according to instructions. 

Perhaps the most popular form is the empire 
and its variations. The flat empire has much 
to commend it from a purely utilitarian view- 
82 


LAMP-SHABES 


point. These shades are dignified, very gen¬ 
erally adaptable to lighting by means of port¬ 
ables, and fortunately, are among the easiest 
to make. The empire shade is of circular cross- 



Fig. 19. Empire shade. 



Fig. 20. Shallow empire shade. 



Fig. 21. Extremely shallow empire shade. 

section and is somewhat of the form shown in 
Fig. 19. The shallow empire as the term im¬ 
plies is shallower than the full empire and is 
similar to that shown in Fig. 20. There is a 
further variation as in Fig. 21 which might be 
83 












PORTABLE LAMPS 

termed the extremely shallow empire having a 
barely perceptible slope. Another empire 
shape is shown in Fig. 10. There are also varia¬ 
tions of these shapes. Some have a downward 
extension of wire-frame at the bottom of the 
sloping portion. Others depend for this upon a 
pendent fringe or flounce. 

Fig. 22. Pyramidal shade . 

Another simple type is the cylinder or drum 
with vertical sides and circular cross-section. 
Variations from this are made by lessening the 
upper diameter with the result that a section 
of a cone is obtained. These can be closed or 
left open at the top as desired. See Figs. 
7 and 9. 

A variation from the conical is the pyramidal 
consisting generally of six flat sloping sides. 
84 







LAMP-SHADES 


This is shown in elevation and in cross-section 
in Fig. 22. The form lends itself to panelling. 
Sometimes the panels are of two different sizes 
as shown in cross-section as in A , Fig. 23. 
Usually an eight-sided shape is desirable when 
this variation in the size of panels is contem- 

/ \ 


\ _ / 

A 

Fig. 23. Panelled shades (cross-sections). 

plated. Another step is shown in cross-section 
in B , Fig. 23. In this case there could be four 
panels separated by shirring in the curved 
portions. 

There is a vast variety of shapes of shades 
available but the simpler forms are dignified, 
easy to make, popular, and likely to outlast more 
complicated ones in our appreciation. There 
85 











PORTABLE LAMPS 


are places for the more intricate shapes but in 
general the simpler ones fit better and “last 
longer” in most of our homes than the “fus¬ 
sier” ones. 

Although the wire-frame is by far the most 
popular and satisfactory frame for shades we 
are not limited to its use. Wood-frames can 
be secured and these generally require the panel 
treatment. In general they are not as durable 
as the wire-frame. Metal frames can be made 
of flat strips and angles and metal strips can 
be combined with wire in the construction of 
frames. Sometimes extra heavy wire is de¬ 
sired. Cardboard frames can be easily made 
but they cannot be considered durable. Glass 
and decorative metal shades are obtainable and 
some beautiful portables are constructed of a 
combination of these. Glass and metal have a 
great advantage over woven fabrics for, bar¬ 
ring accidental breakage, they are much more 
durable. On the other hand glass and metal 
shades are not so generally applicable as parch¬ 
ment and woven fabric, especially for the larger 
portables. 


86 


LAMP-SHADES 


When stiff paper is used a frame is not abso¬ 
lutely necessary but usually a frame will be 
found worth while. It makes the shade more 
permanent and eliminates the danger of its 
becoming disagreeably deformed or displaced. 

In general, shades should have a light-colored 
lining, a cream tint being better than a pure 
white. A stretched lining of this sort in the 
case of a woven-fabric shade presents a neat 
appearance. If possible, the reflecting power of 
the inner surface of parchment and some other 
shades should be increased by whitening or 
even by the addition of a white lining of fabric. 
Sometimes this is done by the use of white opal 
glass. 

Assuming that a sketch has been made of a 
portable lamp it is interesting to cut out the 
paper from the outline of the shade leaving 
strips at the comers if there are any. Now 
various fabrics can be placed underneath the 
drawing and by partially closing the eyes and 
viewing the sketch at arm’s length a fair idea of 
the appearance of the completed portable may 
be obtained. If this cut-out, beneath which the 
87 


PORTABLE LAMPS 


fabric, or various layers of fabrics are placed, 
is viewed against the artificial light to be used, 
an idea of the color will be gained. 

In choosing fabrics for a shade we enjoy the 
advantage of obtaining the desired effect by 
means of several layers of different colors if 
necessary. A common criticism which may be 
directed against shades is that they are not 
dense enough. The light-source should not be 
distinguishable through the shade. Sometimes 
the addition of a white lining will overcome this 
defect and at the same time make a better shade 
by the increased reflecting power of the inner 
surface. In some cases it is necessary to use 
several layers of fabric in order to obtain the 
desired color and density. 

In combining layers to produce a certain color 
which one has in mind, a knowledge of com¬ 
bining colors is helpful. Although it is out of 
the question to go deeply into the subject here 
a few hints will be given. The color of a woven 
fabric as viewed by transmitted fight is due 
both to the transmission of fight through the 
colored fibers and also to the reflection of fight 
88 


LAMP-SHADES 


by them. If two layers of different colors are 
superposed the final color of the light trans¬ 
mitted by the combination is approximately that 
which is common to the two. This is strictly 
true in the case of colored glasses or gelatines 
superposed but owing to the fact that woven 
fabrics have interstices it is only approximately 
true. Some light comes through the interstices 
and some is reflected by the fibers of one fabric 
or the other or by both. This complicates the 
result to some degree. In general, the color of 
the light is a lighter tint than that of a layer of 
woven fabric through which it passes. Further¬ 
more, there is a difference in the transparency 
of fibers. Silk fibers are more transparent than 
most others. 

With the foregoing statements in mind let us 
take up a particular case for the sake of illus¬ 
tration. If we could discuss the matter from 
the standpoint of the spectrum we could be more 
exact but to avoid technicalities we will present 
the case only approximately. Rose is a tint of 
a very reddish purple. It consists chiefly or 
approximately of red and blue, the latter com- 
89 


PORTABLE LAMPS 

ponent being small compared with the red. 
Under ordinary artificial fight it will be noted 
that the rose tint inclines toward a more reddish 
rose owing to the scarcity of the blue rays in 
the artificial fight as compared with daylight. 
Now if we superpose a yellow layer over the 
rose, the resultant transmitted fight is reddish 
for the yellow layer has largely absorbed the 
blue. The red fight is the only fight transmitted 
by both layers. 

Perhaps a few more examples will aid in un¬ 
derstanding the principle. A deep blue and a 
yellow give a result bordering on gray, the resid¬ 
ual color being either bluish or yellowish, de¬ 
pending upon how nearly the two colors are 
complementary. A blue-green and a greenish 
yellow when superposed give a resultant trans¬ 
mitted fight tending toward green because this 
is the color transmitted in common by the two 
layers. 

Mulberry belongs to the class of purples; it 
may be termed a red purple. By combining blue 
with it the result is a purple; that is, the red 
90 


LAMP-SHADES 


of mulberry color is decreased and the blue 
component is relatively increased. 

A purple and a yellow superposed result in 
a red with perhaps a suggestion of purple 
remaining. 

Red and blue-green transmit light bordering 
on colorless because they are so nearly com¬ 
plementary that they transmit no color in com¬ 
mon. Likewise any pair of complementary col¬ 
ors transmits light tending toward colorless. 

As already stated, there are always slight de¬ 
partures from the expected owing to the direct 
transmission through the interstices and to 
other causes mentioned. 

The combining of layers is very interesting 
and aids in producing some wonderful and al¬ 
most surprising effects. For example, in a room 
in which the lamp-shade should be blue in order 
to supply the correct note it is possible to place 
a layer of rose or of any other desirable color 
under the blue outer layer. When unlighted the 
shade appears blue as it should but when lighted 
the rose or other tint helps to produce a color 
91 


PORTABLE LAMPS 

of light much more desirable than the blue light 
would he. 

Let us pause a moment to note that the colder 
colors of light are much less desirable than the 
warmer colors. We like to see and to feel 
warmth in the artificial fight in our homes. We 
must not overlook the fact that in dealing with 
the color of lamp-shades we are not permitted 
the unrestricted freedom that we are in choosing 
colored ornaments. Our shade is not merely a 
colored ornament for it filters the fight and 
therefore is responsible for certain color effects 
of the fight as it falls upon the surrounding 
objects. A green or canary ornament may be 
very pleasing but fight of the same color as it 
illuminates the faces about us is very undesira¬ 
ble. In choosing yellows for warmth in shades 
avoid the canary, lemon or fight amber. It is 
much better to lean slightly toward the orange. 
Orange, moderate tints of red, rose and mul¬ 
berry are examples of colors with warmth. 

In combining layers of fabrics variety of pat¬ 
tern may be desired but perhaps it should not 
be obtrusive in a particular case. A nearly 
92 


LAMP-SHADES 


white lining upon which a layer with a pattern 
is superposed may be satisfactory. However, 
if the pattern is too obtrusive a thin fabric of 
plain color may be shirred over the patterned 
layer. The charm of the pattern subdued in 
this manner is very marked. 

Many otherwise excellent shades are reduced 
in effectiveness by a fringe too long or too thin. 
The fringe must be considered as intercepting 
the direct light. Its length should be carefully 
considered in connection with the size and depth 
of the shade from the utilitarian viewpoint. 
When its length is determined it should be made 
dense or thick enough to effectively shield the 
light-sources from view. Usually a dense shade 
is more artistic than a thin one. For example, 
a double layer of silk fringe is usually more 
satisfactory in appearance than a thin one. 
Sometimes it is well to use a “ skirt’’ or flounce, 
either alone or back of a fringe. 

The finishing of the edges of the shade is a 
matter of taste. Various materials are avail¬ 
able to suit the requirements. The decoration 
of shades can be worked out in these materials 
93 


PORTABLE LAMPS 

as simply or as elaborately as desired. Orna¬ 
mental designs can be cut out of magazines and 
used for outlining purposes to guide those lack¬ 
ing in confidence. Many scraps of material may 
be made to yield medallions, panels and various 
embellishments. With the great variety of 
trimmings and other decorations and the com¬ 
binations of the methods of laying on the fab¬ 
rics such as stretching, shirring, pleating and 
panelling, the lamp-shade may be made suitable 
for most settings or purposes. 

It is not always necessary to sew the fabric 
to the frame for it may be constructed sepa¬ 
rately and hung over the frame. In such a case 
it is usually desirable to use weights for hold¬ 
ing the fabric in place. These “throws ’’ may 
be carefully designed and constructed or the 
material may be artistically wrapped and 
draped around the shade. A skilled hand and 
eye should be able to produce some charming 
effects in this manner without the appearance 
of a make-shift. A certain flexibility in the use 
of throws is obvious. 

If a lining or other layer cannot be obtained 
94 


LAMP-SHADES 


of just the desired tint it is not beyond the skill 
of an inexperienced person to dye material. 
Many interesting variations can be obtained in 
this manner even to the extreme of shading and 
of the effects obtained by tying knots. Shading 
is done by having a large receptacle of dye- 
solution. The fabric is thoroughly wet in clear 
water and then one end is immersed vertically 
to a depth of a few inches. It is held in this 
position for a few minutes then it is immersed 
deeper and so on. The amount of coloring 
acquired by the fabric depends not only upon 
the strength of the dye-solution but upon the 
time it is immersed. Various dyes will be 
found to work differently. Shading can also be 
done to some extent by dyeing the whole piece, 
rinsing in clear water and hanging up verti¬ 
cally to drain. Shadings of various colors can 
be applied to the same piece of fabric by im¬ 
mersing in different dye-solutions. 

There are also the interesting results ob¬ 
tained by tying or knotting. A knot or a series 
of them is tied in the fabric before immersing in 
a dye-solution. Unless permitted to remain in 
95 


PORTABLE LAMPS 


the solution too long the coloring will not pene¬ 
trate the tied portions. The haphazard shapes 
revealed after drying and untying the knots are 



often very attractive. The process may he re¬ 
peated with various dye-solutions drying before 
untying in each case and tying the knots in other 
places for the next dyeing. The possibilities of 
dyeing are manifold even for the uninitiated. 

96 






LAMP-SHADES 


Wicker portables are popular for some pur¬ 
poses and they are susceptible to various treat¬ 
ments in the use of fabrics. Usually cretonnes 
and chintz are used for these. Glass portables 
(Fig. 24) may be obtained in a variety of styles 
covering a wide range in cost. 

There are many other materials for lamp¬ 
shades which have not been mentioned. Can¬ 
vas, wall paper and crepe paper have been used. 


97 


CHAPTER V 

USES IN VARIOUS ROOMS 

Portable lamps may be successfully used to 
solve nearly every lighting problem throughout 
the home and while doing so they are adding 
much of decorative value. Of course, they 
would not be used in the kitchen, the laundry, in 
other similar work-places, or in the bath-room 
but disregarding these, many or even most of 
the lighting requirements in such rooms as the 
dining-room, living-room, solarium, study, 
music-room, boudoir, bedroom and sewing- 
room can be taken care of successfully by means 
of the portable lamp. In fact, portables have 
many uses in other fields of lighting. Of course, 
there are the common uses such as on desks and 
on dining-tables in restaurants. But there are 
still many uses where the combination of utility 
and beauty is desired. But the principles en- 
98 


USES IN VARIOUS ROOMS 


countered in other fields are the same as those 
in the home so that the uses of portables will be 
discussed in connection with representative 
rooms in the home. 

There are nine million residences in this 
country wired for electricity but according to 
the best modern standards they are inade¬ 
quately wired. There is a paucity of outlets for 
connecting portables which is now being recog¬ 
nized. A majority of the occupants of these 
nine million homes are renters. Therefore the 
problem of lighting as encountered by these mil¬ 
lions of renters must be considered. They must 
endure the fixtures which a landlord has sup¬ 
plied or what the previous occupant has left for 
them. As stated in the opening chapter the 
renter hesitates and generally declines to con¬ 
sider purchasing and installing new fixtures. 
Usually his best way out is to purchase or to 
make portables. Here is his great opportunity 
to enjoy the usefulness and charm of artificial 
light. The householder can draw upon his (of 
course we mean “her”) ingenuity, enthusiasm, 
and purse to the fullest extent in planning or in 
99 


PORTABLE LAMPS 


purchasing portables for he knows they will go 
with him when he moves. 

There is the difficulty of the scarcity of out¬ 
lets but this may be overcome to some extent by 
means of lamp-cord. A socket may be brought 
from the most accessible place to a point where 
it may be a distribution center for the portables 
in that vicinity. Furthermore, it is relatively 
much easier to install convenience-outlets in the 
walls or base-boards than in the ceiling for fix¬ 
tures. Some time in the future, fixture-outlets 
will be prevalent and they will enable the house¬ 
holder to attach the lighting fixtures such as 
wall-brackets *and ceiling-fixtures and to remove 
them as easily as he now does a portable. But 
with all these improvements still to come the 
portable will not cease to be a decorative and 
utilitarian combination for lighting which is 
the best way out for millions of householders. 

Let us now take a trip to various representa¬ 
tive rooms in the average home and view the 
possibilities of portable lamps. 

The Dining-Room. From a utilitarian as well 
100 


USES IN VARIOUS ROOMS 

as a psychological viewpoint, the dining-table 
should be the predominantly illuminated area 
in the room. In many homes this is not the 
case but a careful study of this problem will 
supply conclusive proof of the truth of the pre¬ 
ceding statement. Frankly the lighting of the 
dining-table can be accomplished more satisfac¬ 
torily by a ceiling-fixture of proper design sup¬ 
ported above the table. However, this does not 
mean that a portable lamp cannot satisfy the 
lighting requirements as already enunciated. 
Many householders have used candle portables 
usually incidental or accessory to the lighting 
from the ceiling-fixture. However, small port¬ 
ables similar to candle-sticks but employing elec¬ 
tric lamps, can be depended upon entirely for 
illuminating the table. They can be connected 
to plugs under the edge of the table or less 
satisfactorily to the ceiling-fixture. Sometimes 
it will be found better to place the individual 
electrified candle-sticks between diners rather 
than in the center of the table. This often pro¬ 
vides a better view of those across the table. 

101 


PORTABLE LAMPS 


In order to avoid glare the shades should be of 
the closed-top type and they should be fairly 
dense. 

It is not out of the question to use a single 
low portable in the center of the dining-table or 
two or more when the table is long. These can 
be low enough to see over and beyond them 
without difficulty. About fourteen inches is the 
maximum height permissible if the diners are 
to see over them. For such a portable the light- 
source should be as high as the over-all height 
will permit and the shade should be dense. One 
may also consider the other extreme; that is, 
a portable high enough to see under and beyond 
the shade in order that the view of diners may 
be unobstructed. This amounts to placing the 
dome fixture which has hung from the ceiling, 
upon a pedestal in the center of the table. This 
is not the best solution but it is unique and 
when the shade is properly designed and sup¬ 
ported at a height so that the light-sources are 
concealed it is not without possibilities. 

A pair of small portables spanning the buffet 
adds a charming decorative note (Fig. 25). 

102 


USES IN VARIOUS ROOMS 


When the smallest lamps of regular voltage are 
used they are sometimes too bright. By con¬ 
necting them in series the light is subdued to a 
very satisfactory value. A switch which will 
connect these either in “ series’’ or in “par- 



Fig. 25. Decorative portables for buffet. 

allel” is a desirable accessory. Of course, these 
decorative portables may take a variety of 
forms. A candle-stick with several arms each 
surmounted by a small electric lamp and suit¬ 
able shade is appropriate. Mica is popular at 
present and small torcheres of this character 


103 










PORTABLE LAMPS 


may be used. Other portables may be installed 
for both utility and beauty but the furnishing 
in the individual case will determine the type 
and the number of them. 

The lighting in the breakfast-room may be 
accomplished by a small portable at one end 
of the table in the case of the “ pullman” alcove 
or in the center of the table if the condition is 
similar to that in the dining-room. 

The Living-Room . The setting in the living- 
room is not as definite as that in the dining¬ 
room. This is one reason why portable lamps 
afford an excellent solution to the lighting of 
this room. Portables may be rearranged with 
the furniture and they may cling to their par¬ 
ticular office regardless of the change. The 
reading or so-called library-table may have its 
location changed but the portable which is meant 
for it may go with it. If the portable on this 
table (Fig. 26) is to provide light for reading 
it should possess a shade which emits a direct 
component of the proper spread in accordance 
with the principles discussed in Chapter II. 
Sometimes a pair of portables may be the best 
104 


USES IN VARIOUS ROOMS 


solution for a'large table or a twin lamp, that 
is, a pair of shades on the same standard, may 
be desirable. In some cases the elliptical shade 
has been found satisfactory for this purpose. 



Sometimes the davenport is spanned by port¬ 
ables on tables or on the floor. 

For the general lighting of the living-room 
the portables emitting powerful upward com¬ 
ponents are satisfactory (Fig. 27). Few per¬ 
sons realize that this room may be very well 
105 














Fig . # 7 . A floor lamp providing both downward 
and upward components of light. 


106 











USES IN VARIOUS ROOMS 

illuminated to a high intensity by the system of 
indirect lighting by means of portables designed 
for this purpose. If the room is too large for 
one portable to supply sufficient indirect light 
two or more may be used. These may be table- 
lamps or floor-lamps. Inasmuch as they can be 
equipped with light-sources which give direct 
lighting the portable on the reading-table may 
be of this type. Another if needed may be a 
floor-lamp. These direct-indirect portables are 
able to introduce variety into lighting in a much 
better manner than is obtainable from ordinary 
fixtures. They afford a means of using light 
as an expressive medium. From a flood of light 
to the charming effect of subdued localized light¬ 
ing is a range representing extreme moods. 
Light should be used to accentuate or even to 
create the mood of a room and it should be 
possible to vary it to suit the occasion. Port¬ 
able lamps which are designed to give direct 
light as well as indirect, open to the householder 
some of the potentiality of light. 

The mobility of portable lamps has already 
been mentioned. This characteristic which port- 
107 


PORTABLE LAMPS 


ables enjoy alone among lighting-fixtures or de¬ 
vices is one of the greatest factors in their con¬ 
sideration. Floor-lamps in the living-room af¬ 
ford lighting for reading or for other activities 



Fig. 88. An excellent portable for the reader . 

and they do not require another article of fur¬ 
niture for their support as table-lamps do (Fig. 
28). A chair may be placed underneath one of 
them so that reading or other visual operations 
can be pursued generally more satisfactorily 
than near a table-lamp. 

108 













USES IN VARIOUS ROOMS 


There are special floor-lamps for reading pur¬ 
poses which are quite satisfactory. A short one, 
about four feet tall, is convenient for this pur- 



Fig . %9. A useful and ornamental bridge lamp . 

pose. The dimensions of floor-lamps have been 
discussed in a previous chapter. Another type 
of floor-lamp which can be drawn close to a 
chair is the bridge or bracket portable (Fig. 29). 
109 







PORTABLE LAMPS 


A substantial pedestal supports an overhang¬ 
ing bracket from which the shade is hung. This 
projecting shade, which is often adjustable, 
makes it possible to have the shade and light- 
source close to the book in the case of reading. 

If the piano is in the living-room the music 
can be lighted by means of a floor-lamp (Fig. 
30), by means of a pair of slender portables on 
the piano, by means of a specially designed 
portable over the music and in other ways. If 
there is a writing-desk in the room a small port¬ 
able is a satisfactory means of lighting. 

The foregoing are the more specific lighting 
requirements of the living-room. A number of 
portables for these various purposes may be 
provided depending upon the size of the room 
and upon the furnishings. The number, size 
and character of the purely ornamental port¬ 
ables is a matter of taste. In a living-room 14 
feet by 25 feet a dozen portables can be used. 
A pair of small ones may rest on the mantle and 
another one or a pair may be placed on a book¬ 
case. Any small table may be completed as a 
decorative note by adding a portable. Various 
110 


USES IN VARIOUS ROOMS 


novelties may be used of the type discussed in 
another chapter. We could go on discussing 
details of this character but after all the mat- 



Fig. 30. An excellent portable for the piano. 

ter rests with the taste and desire of the house¬ 
holder. 

Ceiling- and wall-fixtures need not be aban¬ 
doned entirely. The wall-brackets with small 
111 







PORTABLE LAMPS 


lamps and dense shields or shades are orna¬ 
mental. The ceiling-fixtures can provide gen¬ 
eral lighting for those occasions and activities 
requiring it. However, portable lamps of suffi¬ 
cient number and of proper design can meet 
all the lighting requirements in this room. In 
general, they will be more satisfactory than any 
other system of lighting. The lighting effects 
which they produce are pleasingly asymmetri¬ 
cal. They provide localized lighting wherever 
desired and the subdued lighting so conducive 
to restfulness and comfort. By choosing and 
carefully locating portables designed for pro¬ 
viding an indirect component of light, general 
lighting is obtained. Open-top shades here and 
there are often just the final touches in obtain¬ 
ing the best and most flexible lighting. 

The Sun-Room. The lighting requirements in 
this room are not materially different from 
those in the so-called living-room but the fur¬ 
nishings are generally characteristically differ¬ 
ent. For example, wicker lamps are often ap¬ 
propriate in these settings and owing to the 
nature of the room a more theatrical touch in 
112 


USES IN VARIOUS ROOMS 

lighting is not always out of place. The direct- 
indirect portable can be used to advantage and 
the indirect component might be distinctly col¬ 
ored. A colder light such as is obtained from 
the so-called tungsten “daylight” lamps is 
sometimes suitable. Even stronger contrasts 
can be used. Light-sources concealed in vases 
or urns and placed on shelves or furniture can 
be employed to obtain novel effects. Here again 
the number of portables will depend upon the 
size and furnishing of the room. 

The Den or Study . If there is a desk or a 
writing-table in the room its lighting can be 
very well accomplished by means of a portable 
lamp. There are various purely utilitarian 
desk-lamps available but in the home a decora¬ 
tive one is usually more desirable. If the port¬ 
able is on the table it should be toward the back 
and to the left of the person seated. If the ar¬ 
rangement of furniture permits its use, a floor¬ 
lamp will be found to be highly satisfactory for 
lighting the writing-table. In fact, it is the best 
means that the author has found. Such a port¬ 
able is best placed at the left of the person 
113 


PORTABLE LAMPS 


seated at the table. Of course, these specifica¬ 
tions are for a right-handed person. 

It is a mistake to concentrate practically all 
the light downward on the table for this causes 
quite a large contrast in brightness between 
the book or writing paper and the surroundings. 
The portable should permit an appreciable 
amount of light to find its way to the ceiling and 
walls. If a closed-top shade is used for the 
portable at the writing table some general light¬ 
ing should be obtained from other light-sources 
if eye-comfort is to be assured. The den brings 
to our mind a dimly lighted room with rather 
dark walls and furnishings. With well shaded 
light-sources this subdued effect is accentuated. 
This lighting is quite satisfactory for conver¬ 
sational purposes but when we call upon the 
eyes to do work such as is involved in reading 
or writing other considerations enter. The 
chief of these is contrast in brightness. We 
must not have the contrast too great if w r e are 
to avoid eye-strain. The insurance against this 
discomfort is found in illuminating the sur¬ 
roundings by some general lighting. 

114 


USES IN VARIOUS ROOMS 

In this room there is no better way of in¬ 
troducing charm than by means of portables. 
Various unique portables or artistic novelties 
are available or can be made which are thor- 



Fig. 31 . For the dressing-table . 


oughly suitable for the den or study. In gen¬ 
eral the color and materials of the portables 
for this room should be dignified and restful. 

The Boudoir. Let us first consider two arti¬ 
cles of furnishing which we will designate as the 
115 







PORTABLE LAMPS 


dresser and the dressing-table and we will 
assume that each is equipped with a mirror. 
Wall-brackets or brackets fastened at the sides 
of the mirror satisfy the lighting requirements 
in both these cases. However, portables if prop¬ 
erly designed are excellent (Fig. 31). They can 
be colored and ornamented to harmonize with 
the daintiness of such a room. Here lighter 
tints and patterns in the material of the shades 
are appropriate and painted pedestals are suit¬ 
able. But if portables are to be used they 
should be so designed that they are of the cor¬ 
rect height and the shades are of proper density 
and shape to produce the proper lighting effect. 
In other words, these portables must be useful 
as well as ornamental (Fig. 32). 

In the case of the dresser a person stands be¬ 
fore it. Therefore, the height of the light-source 
or center of the shade above the floor should be 
slightly greater than the height of the person 
standing. In Fig. 33 a diagram shows the 
proper height of a portable on a dresser. This 
is a front elevation showing two portables. Of 
course, two portables, one on each side of the 
116 



Fig. 32. Showing the short portable which is best 
for the dressing-table where the user is seated. 


117 















PORTABLE LAMPS 

dresser, is the ideal arrangement. The top of 
the dresser is about 42 inches above the floor. 
This makes it necessary to have dresser port¬ 
ables about 24 inches in height. In fact, it is 
desirable to have them higher rather than 
lower. These portables should be slender and 
inasmuch as they are exceptionally tall their 
construction is a matter of moment. A satisfac¬ 
tory pedestal can be made of metal tubing cov¬ 
ered with velvet or wrapped with cord. This 
construction is convenient for wiring the ped¬ 
estal. The shade should not be too dense be¬ 
cause in this case enough light must be trans¬ 
mitted by it to illuminate the face. It should 
have an open bottom and open top in order to 
provide light for the top of the dresser and to 
permit some light to fall on the adjacent walls 
and ceiling. The cylindrical shade as shown 
is quite suitable for the slender portables for the 
dresser, but shades with slightly inclined sides 
or with panels are quite satisfactory. 

The portables for the dressing-table (Fig. 32) 
are quite different in design from those for the 
dresser. The dressing-table is about 30 inches 
118 



Fig . 33. Showing tall slender portable of proper 
height for the dresser at which the wser stands. 


119 






































PORTABLE LAMPS 


in height and inasmuch as a person is seated at 
it part of the time at least, the portables should 
be only about 14 inches in height. The shades 
should have a completely closed top and should 
be quite shallow. Furthermore, as in the case 
of the dresser portables the shades should not 
be too dense; they should transmit sufficient 
light to illuminate the face satisfactorily. Al¬ 
though it is usually best to have the shade- 
holder fixed permanently to the pedestal, here 
is a case where it is advantageous to have the 
shade supported by the lamp bulb. It is thus 
possible to tilt the shade so that direct light 
from the lamp may illuminate the person when 
a high intensity of illumination is desired. A 
careful consideration of the principles involved 
will aid the householder to select or to design 
the proper portables for these specific purposes. 

Other portables in the boudoir will depend 
upon the furnishings, size of the room and the 
other requirements. A decorative reading-lamp 
or a small ornamental portable will supply light¬ 
ing for other purposes. There are also oppor¬ 
tunities to utilize some of the novelties described 
120 


USES IN VARIOUS ROOMS 


in another chapter. For example, the skirts 
of a doll may subdue the intensity of an electric 
lamp so that it can be used as a night-light. 

The Bedroom . In those cases where dress¬ 
ing and sleeping rooms are combined, the dis¬ 
cussion pertaining to the lighting of the boudoir 
applies directly. Some persons enjoy the lux¬ 
ury of reading in bed. For this purpose a 
bracket-lamp can be attached to the head of the 
bed and this may be as decorative as desired. 
From an artistic standpoint a portable on a 
small table may be more satisfactory. How¬ 
ever, a small floor-lamp with a shallow shade 
has been found to be of advantage. It is easily 
moved about and can be brought close to the 
bed. Such a portable about 50 inches high with 
an extremely shallow shade, is quite suitable. 
Here the painted pedestal with delicate orna¬ 
ment and a patterned silk shade is very pleasing 
in appearance and it harmonizes with the fur¬ 
nishings in many bedrooms. Various novelties 
or small decorative portables will often find a 
place in this room. 

Other Rooms. The foregoing discussions 
121 


PORTABLE LAMPS 

cover fairly well the lighting requirements and 
possibilities of portables in representative 
rooms in the average home. Owing to the in¬ 
dividuality of homes various lighting problems 
are found. However, the principles and possi¬ 
bilities of portables apply to the unusual places 
as well as to the representative rooms. We 
could go on multiplying details but perhaps to 
little further advantage. We can only aid the 
user of portables to a certain extent. The final 
touches must spring from the enthusiasm, the 
ingenuity, and the taste of the householder or 
other user of artificial light. 

However, a few more suggestions may be of 
interest. If there is a sewing-room a portable 
using a tungsten “daylight” lamp will be 
found satisfactory. This may be a table-lamp 
but sometimes a floor-lamp will be found more 
satisfactory because it may be placed close to 
the sewing machine and for handwork the 
worker may be seated practically underneath 
the lamp. 

Vestibules are usually lighted by means of a 
ceiling-fixture but if space permits a portable 
122 


USES IN VARIOUS ROOMS 

may*prove suitable. If there is a mirror and a 
console beneath it, a pair of small decorative 
portables provides a charming greeting to the 
caller. In the reception hall there are similar 
possibilities. Portable lamps go a long way 
toward making these places appear furnished. 

In many homes the upper hall appears bar¬ 
ren. A portable lamp on a small table or even 
a floor-lamp will do much toward relieving the 
barrenness. This is also true of the stairway 
landing if it is large enough. 

Thus as we pass through a home we find many 
opportunities for using portables. We should 
not consider their use limited to those places 
where light is needed from the viewpoint of 
pure utility. We should go further and take 
advantage of the charm that light possesses be¬ 
yond that of mere color in ornament. And then 
we should complete our capitulation by admit¬ 
ting that primary artificial light has just as 
much right to be an ornament or a decorative 
element as the color in a vase. A small port¬ 
able may be a decorative object but when lighted 
it is something more. It is now enlivened; it 
123 


PORTABLE LAMPS 

becomes a vital spark amid otherwise dead 
ornament. 

We should not consider portables, or light¬ 
ing fixtures in general, with disfavor because 
they consume electricity which we must pay for 
from time to time. Pictures on the wall do not 
cease to cost us something after their initial 
cost is forgotten. We never can escape the run¬ 
ning cost of interest on the investment and of 
depreciation. The meager cost of artificial light 
is not much to add to depreciation and interest 
on the investment considering what usefulness 
and what charm it provides at an average cost 
per residence of about two dollars per month 
for electricity. 

The portable lamp is one of the most helpful 
allies for the householder who wishes to bring 
convenience, restfulness, comfort and charm 
indoors, or in other words, to make a house a 
home. 


124 


CHAPTER VI 


NOVELTIES 

There are numberless possibilities in port¬ 
able lamps which may be better classed as nov¬ 
elties. Most of these are scarcely recognized as 
portable lamps but in reality they are for they 
are just as portable as any electric lamp can be. 
The shopper will find many of these novelties 
in the electric and gift shops but a creative indi¬ 
vidual will soon discover that many more still 
remain undiscovered or at least unmade. Some 
of these novelties combine the usefulness and 
decorative charm of light with some article 
which is useful in some other manner. A mere 
verbal description of these novelties is fraught 
with danger, for words often fail to bring to 
mind the charming artistic result, but merely 
leave the reader a mental image of incongruity. 
However, we will assume that risk although we 
125 


PORTABLE LAMPS 


will also describe some possibilities which will 
enable one to make or to have made some great 
improvements in decorative portables. 

Just where the dividing line lies between port¬ 
ables which are novelties and those which are 
not is indefinite, but that need not worry us 
here. Horn windows in lanterns were once 
common but now such a use is unusual and 
novel. Conversely artistic mica cylinders were 
at one time seldom seen in modern electric port¬ 
ables but today they are quite common. Ped¬ 
estals surmounted by mica cylinders, hexagonal 
lanterns, or a cluster of electric ‘ i candles ’ ’ are 
not very generally used but they are not novel¬ 
ties to those who are familiar with them. 

The few novel portables or combinations 
which may be mentioned here will only serve to 
illustrate and to suggest possibilities. Passing 
words may not do them justice but the artistic 
hand and eye can satisfy in this respect. Many 
novel portables combine a small shade and a 
light-source with some article having a distinctly 
different use. A small workbasket may form 
the base of a decorative portable consisting of 
126 


NOVELTIES 


a small electric lamp and an artistic silk shade. 
A book-end may not only support books, but 
also a shade and a light-source as well. A serv¬ 
ing or refreshment tray may be designed so as 
to support a shade and light-source. Some in¬ 
cense burners are equipped with small electric 
lamps which add a charming tiny spark of orna¬ 
mental light. A desk portable may have com¬ 
partments for writing materials. There are 
combination lamps and mirrors varying from 
dainty boudoir articles to the strictly utilitarian 
ones. Charming vases for holding natural or 
artificial flowers are surmounted by pretty 
shades enclosing electric lamps. These and 
many other combinations can be purchased or 
made and when properly used they add the 
charm of light here and there throughout the 
home. 

Then there are numberless novel portables 
which may serve as night-lights or as bits of 
lighted ornament. Decorative urns of glass or 
of marble are found completely equipped with 
electric lamps and connecting wire. Charming 
miniature sculptures are surmounted by ex- 
127 


PORTABLE LAMPS 


quisite shades of silk, brocade and gold lace. 
Cylinders of parchment, mica, gathered silk and 
painted fabric contain small electric lamps. 
These also may serve as night-lights as well as 
ornaments. Colonial dolls are used as lighted 
ornaments and night-lights. An electric in¬ 
candescent lamp is concealed under the skirt 
and the light is filtered through the fabric. The 
construction can he such as to make it possible 
to remove the doll when more light is desired 
temporarily. A small shade of woven fabric 
is fastened to a wire frame which has a wire 
handle or a clamp so that it may be fastened 
to a chair or to the bed. Flower-baskets and 
flower-trays conceal electric lamps and are novel 
lighted ornaments. Exceptional pieces of glass 
and even glass vases may be illuminated by 
means of concealed lamps. Novelties of this 
character may be found if one will search for 
them and many are easily made. 

In visiting the antique shops and others one 
will discover many interesting objects which 
can play a part in lighting the home. Herein 
lies one of the greatest joys in lighting. It is 
128 


NOVELTIES 


hoped that this little volume will start some 
readers at least on the never-ending quest. 

The charm of mystery can be injected into 
lighting by concealing lamps in vases, jardi- 
niers and numberless ornaments which may lend 
themselves to this form of lighting. The results 
are not merely incidental or insignificant for 
they can be of such magnitude as to contribute 
largely to the lighting of a room. Places are 
readily found for such ornaments and no one 
need suspect that they conceal electric lamps. 
Sometimes the concealed light-source produces 
a very beautiful effect as the light is filtered 
through a dense marble piece or a semi-trans¬ 
lucent vase. Unique indirect lighting may be 
obtained by means of several urns or vases 
placed in different parts of a room on bookcases 
and on other articles of furniture. This is a 
very excellent manner of lighting various nooks 
and of providing a slight amount of general 
lighting to supplement the subdued lighting 
from ordinary portables. 

Many novel shades for portables can be made 
of paper besides those more permanent and 
129 


PORTABLE LAMPS 

costly ones of parchment, vellum and imita¬ 
tions. Wall-paper and crepe paper are cheap 
but should only be used when durability is not 
a matter of concern. These novelties usually 
border on the frivolous and one of their best 
uses is for temporary decorations for parties. 
For the smaller portables wire frames are not 
necessary. Cardboard may be used for stiffen¬ 
ing and the decorations may consist of cutouts 
pasted on the paper. In many cases no shellac, 
varnish, or painted decoration is necessary. 
Unique inexpensive portables can be made by 
means of drawing paper tinted with water- 
colors. A cylinder can be supported on a simple 
pedestal, or from an arm projecting from one 
or two uprights. These are easily made and are 
of considerable decorative value. Many sug¬ 
gestions will occur to one who gives the matter 
a little thought. 

One of the greatest difficulties which we en¬ 
counter in electrifying certain antiques and 
novelties is due to the fact that an electric fila¬ 
ment lamp of the* smallest wattage of the normal 
voltage found in the home often provides too 
130 


NOVELTIES 


much light. Furthermore, the electric lamp is 
often physically too large for the space avail¬ 
able. For example, two charming antique Chi¬ 
nese temple-lamps were in the author’s posses¬ 
sion and it was desired to light them electrically. 
Originally miniature candles were burned in 
them. The lamps were of bronze and only about 
a foot in height. The space available for the 
light-source was much too small for even a 
candelabra lamp of the ordinary line voltage; 
furthermore, a ten-watt lamp—the smallest that 
can be purchased—gives a great deal more light 
than is desirable for these temple-lamps. 

The problem was solved in a very sim¬ 
ple manner. Teakwood bases were made to 
fit the lamp bases which were hollow and suf¬ 
ficiently large to permit the installation of 
a very small transformer. There is available 
in the market a night-light which consists of a 
transformer and a bayonet socket for a six-volt 
miniature lamp of the smallest size used on auto¬ 
mobiles. This apparatus screws into an ordi¬ 
nary lamp-socket and steps down the voltage to 
six volts. The bases of the Chinese lamps were 
131 


PORTABLE LAMPS 


too small to admit this complete night-light out¬ 
fit so the small transformers were removed 
from two of them. These were installed on the 
teakwood bases and the temple-lamps were 
placed over them. A small bayonet socket was 
fastened at the neck of the lamp and wires were 
run downward to the transformer. The proper 
terminals of the latter were connected to a lamp 
cord—which could be plugged into the outlet on 
the mantel above the fire-place. Electric lamps 
similar to those used in the tail-light of an auto¬ 
mobile were installed in the sockets. Now these 
Chinese temple lamps are electrified. The small 
amount of light from the miniature lamps which 
are concealed deep in the lamps gives just the 
desired amount of light. The lamps were orig¬ 
inally just lifeless antiques to be admired only 
as such. Now they are live ornaments giving 
light as they should. The pair give forth their 
charming subdued light nightly at a cost of 
about one-tenth of a cent each evening. 

This led to many other applications of minia¬ 
ture lamps. The night-light outfit has been in¬ 
stalled in a number of objects and has been con- 
132 


NOVELTIES 


nected directly to the lamp-cord in other cases. 
This outfit contains the smallest transformer 
available so that a number of them have been 
dismantled in order to obtain the transformers. 
Several wood pedestals or bases have been 
turned in a lathe in such a manner as to be suit¬ 
able for placing objects upon them. These 
bases have each been provided with a cavity in 
the lower side for concealing one of these small 
transformers. In this manner low-voltage is 
obtained for connecting miniature lamps. 

A pair of very small candle-sticks can be 
equipped with miniature lamps and they can be 
placed upon the pedestals containing the trans¬ 
formers. Various other uses have been found 
for miniature lamps. An ordinary bell-ringing 
transformer can be used for the purpose and 
there are various so-called toy transformers 
available. These step down the regular voltage 
to two, four, six, eight and twelve volts. The 
foregoing description may lead one to believe 
that the work is too technical for the uninitiated 
to attempt but in this mechanical age most boys 
and men can do it successfully. "We should not 
133 


PORTABLE LAMPS 

overlook the many possibilities of miniature 
lamps. 

It should be noted that the transformer can be 
used, in the manner described in the foregoing 
paragraphs, only with alternating current. 
Fortunately this is generally supplied to resi¬ 
dences. Where only direct current is available 
a suitable resistance can be used in series with 
the low-voltage lamps but this method is not as 
satisfactory as the use of a transformer. 


134 


CHAPTER VII 


LIGHT-SOTXBCES 

This little volume has been written largely 
with electric incandescent filament lamps in 
mind because the possibilities of portables are 
much greater with these light-sources than with 
others. However, the principles of design and 
of usage are quite the same for all light-sources, 
bearing in mind, of course, the inherent limita¬ 
tions of the light-sources themselves. Obviously, 
open flames are limited very much by fire hazard 
but one need not forego some of the enjoyment 
of portables of various designs just because 
electricity may not be available. However, the 
limitations of open flames should be obvious and 
in order to avoid repetition only electric in¬ 
candescent lamps will be discussed as light- 
sources for portables. The light-source is an 
aspect of portables which is quite important and 
space is given to a brief discussion of it because 
135 


PORTABLE LAMPS 


observation indicates that the user of light is 
not adequately familiar with the kinds, sizes 
and other characteristics of electric incandes¬ 
cent lamps. 

Electric incandescent lamps as far as the 
householder is concerned may he divided into 
two general classes which may be popularly 
termed tungsten “gas-filled” and “vacuum” 
lamps respectively. The so-called gas-filled 
lamp has a coiled tungsten filament and the bulb 
is filled with nitrogen and argon gas. The fila¬ 
ment owing to the coiling is confined in a much 
smaller space than the straight filament of the 
vacuum lamp. Owing to the conduction of heat 
through the gas to the bulb, the gas-filled lamp- 
bulb is considerably hotter than the bulb of the 
vacuum lamp. However, it is not so hot as to 
damage the lamp-shade even though it is made 
of delicate silk, if the bulb is as much as two 
inches away from the shade. This is particu¬ 
larly true of the 50, 75 and 100-watt lamps. The 
bulb of the tungsten vacuum lamp of smaller 
sizes can be in contact with a shade without 
causing deterioration but it is best to separate 
136 


LIGHT-SOURCES 


it from the shade by a distance of an inch at 
least. 

The tungsten gas-filled lamp may be obtained 
all-frosted and some of these are now made of 
diffusing or white glass and also with a more 
diffusing coating than the so-called frosting. 
Larger lamps are also supplied with this coat¬ 
ing. These diffusing lamps generally produce 
a better effect than the clear-bulb lamps because 
the harshness of shadows is much subdued. The 
user of electric lamps in the home will do well 
to purchase the diffusing bulbs, either of white 
glass, with white coating, or with the sand¬ 
blasted or etched frosting. 

The tungsten vacuum lamps which have been 
most popular are those of 10, 15, 25, 40, 50 and 
60 watts. Often when a lamp is desired of 
greater size than 40-watts, the gas-filled lamp 
should be purchased. The vacuum lamps may 
be obtained with round or pear-shaped bulbs. 
Sometimes where the available space is small a 
round-bulb lamp will be more suitable than the 
pear-shaped. The regular lamps have the so- 
called “ Edison ’ 7 or standard base. The next 
137 


PORTABLE LAMPS 


smaller electric lamp is the candelabra and it 
is found useful for the smaller portables. This 
has a screw-base which is smaller than the 
standard “Edison ’ 9 base. 

It has already been stated that, where feasi¬ 
ble, a portable should be designed for a single 
electric lamp. The effect is more symmetrical 
and the portable is simpler and usually more 
satisfactory than in the case of one with several 
light-sources. When a single electric lamp is 
used in the large portables its wattage should 
be from 50 to 200 depending upon the size 
of the portable and its use. A 75-watt lamp will 
provide enough light for reading but in.the case 
of the deep open-top shades a 100-watt frosted 
lamp will be found more desirable. The lamp 
can be readily changed so it is well to have the 
fitting designed to admit the use of the 100-watt 
lamp. Incidentally the 150-watt bulb at the 
present time is the same size as the 100-watt 
bulb. Instead of trusting to dimensions it is 
best to use the actual lamp in designing or in 
purchasing a portable. 

At the present time relatively few portables 
138 


LIGHT-SOURCES 


of the larger sizes are being constructed for the 
use of a single lamp; however, even in the multi¬ 
socket portables of the larger sizes it is often 
found advantageous to use the 50-watt gas-filled 
lamp with a diffusing bulb. 

The electric incandescent lamps considered in 
the preceding paragraphs are those of the 
“normal” voltage supplied to residences. The 
residential voltage varies somewhat with the 
locality, the range being chiefly between 105 to 
125 volts with the most common value at 115 
volts. For the low voltages obtained with small 
transformers, miniature electric lamps are 
available chiefly in the range from 2 to 12 volts. 
The smallest electric lamps have miniature 
screw bases and the next smallest are the lamps 
used in automobile tail-lights. The latter have 
bayonet bases and when their use is contem¬ 
plated the bayonet socket must be installed. In 
designing small portables or in electrifying 
small objects such as some candle-sticks, the 
type of lamp and its socket should be considered 
together. 

There is quite a range of tint represented in 
139 


PORTABLE LAMPS 


regular electric incandescent lamps. Although 
their light at night is considered to be quite 
whitish, as a matter of fact it is very yellow 
compared with daylight. The light from the 
vacuum electric incandescent lamp is yellower 
than that from the gas-filled lamp and the light 
from the latter is yellower than the so-called 
“daylight” lamp. The daylight lamp is advan¬ 
tageous not only in the kitchen and the laundry 
but may be used in portables for reading, for 
sewing, and in cases where a “cold” tint is 
suitable. 

Almost universally we like the “warm” tint 
of the light from the candle-flame or from the 
fire-place. For this reason modem electric 
lamps tinted to emit light of the color of the 
candle-flame are quite popular with the house¬ 
holder who has an artistic sense for color. Such 
electric lamps are available and if one will be 
persistent enough to search for them he will be 
rewarded with lighting which is extremely 
charming in its warmth of color. 

If one wishes to go further in introducing the 
charm of color into lighting, it is possible to 
140 


LIGHT-SOURCES 

obtain lamps of other colors from the leading 
dealers. Although the purer colors have their 
place in lighting they are more suitable for the 
theatrical or spectacular touch than for general 
lighting. We like pure color momentarily 
rather than continuously. We like a brilliant 
patch of color in a vase or other small object 
but do not use this vivid color over large areas. 
This small patch of pure color is seen momen¬ 
tarily in our surroundings whereas there would 
be no escape from large areas of pure color 
such as wall coverings. The colors to live with 
are subdued shades and tints. The brilliantly 
colored objects are merely notes in a more rest¬ 
ful color-scheme. 

Therefore we should use lights of pure colors 
cautiously and sparingly. When we do use them 
they must be considered as secondary lighting 
effects or as live sparks of ornament. Light of 
fairly pure color can be used successfully for 
the indirect component of the direct-indirect 
portables. Thus a secondary general lighting 
of a low intensity and of a desired color may 
be superposed upon the primary localized light- 
141 


PORTABLE LAMPS 


ing obtained directly from the portables. Col¬ 
ored light can be used safely and successfully in 
small ornamental or novel portables. 

In using colored light we must not forget that 
the light will illuminate familiar objects, dresses 
and faces. For this reason it must be more care¬ 
fully considered than color as used in the usual 
manner. Warm yellow, orange and rose are 
satisfactory colors for lighting but, of course, 
all colors have applications. 

There are many colored lacquers which can 
be successfully used on tungsten vacuum lamps 
but most of these deteriorate rapidly when used 
on the hotter bulbs of the gas-filled lamps. 
Most progressive dealers are able to color lamps 
and it is likely that such lamps will be generally 
displayed for sale in the coming years. At the 
present time permanent tints can be applied 
superficially to the gas-filled lamps and such 
colorings are beginning to reach the market. 

It is not difficult for the householder to color 
electric lamps for most of his purposes when 
only tints are desired. The more transparent 
oil paints can be used on the bulb. Dry pig- 
142 


LIGHT-SOURCES 


ments mixed with shellac are satisfactory. 
Enamels and ordinary paints when applied 
thinly enough will supply the need. These 
should be allowed to dry fairly well before the 
lamp is lighted in order to prevent blistering. 
The pigments used by the layman are not likely 
to be very transparent and therefore will absorb 
considerable light, but for the few effects that 
may be desired they will be fairly satisfactory. 

Many aniline dyes can be used with collodion 
or with “celluloid” lacquers. If a sufficient 
quantity of the liquid is available the lamp may 
be dipped into it. This insures a better result 
than is obtained by using a brush. The cellu¬ 
loid used in automobile curtains can be dis¬ 
solved in denatured alcohol, or old photographic 
films from which the emulsion has been removed 
will supply the celluloid. The resulting lacquer 
may be colored with cheap aniline dyes. 

Sometimes it is better to color a cylinder or 
other enclosure for a lamp. The coloring will 
not deteriorate as rapidly in this case as when 
it is on the lamp bulb. Photographic plates and 
films can be fixed, washed, dried and then dyed. 
143 


PORTABLE LAMPS 


The gelatine takes the dye very well and these 
make excellent filters. A photographic film 
from which the emulsion has been removed may 
be colored with a celluloid lacquer. It may be 
bent into various forms as desired. Of course it 
should be remembered that celluloid is inflam¬ 
mable ; however, such coatings on lamps do not 
take fire. Gelatine sheets can be dyed and used 
with success but they are not permanent. Such 
colored sheets are sold by dealers in theatrical 
supplies. Mica in sheets or in cylinders is very 
satisfactory as a filter when colored. 

Colored silk may be used to enclose the light- 
source or it may be stretched across the open¬ 
ings in the shade. The silk fibers are quite 
transparent so that beautiful tints are obtained 
in this manner. Colored papers and other ma¬ 
terial may be placed around the lamp bulbs 
if only a temporary effect is desired. 


144 





















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